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^Roland 





Owner's Manua 

Version 2.0 



The S-50 Version 2.00 software turns the system into a sampling keyboard which can record (sample 
and record into computer memory) all sorts of sounds, then play these sounds. Please thoroughly read 
the "Basic Course" of this owner's manual, then go to the necessary section which cxplaines the relevant 
mode with the aid of the index provided at the back of the manual. 



FEATURES 



• The S-50 is 16 voice polyphonic. 

•The S-50's digital filter circuits allow you to record ail sorts of 
sounds without affecting the quality of the sounds. 

•The S~50's digital editing functions can modify the sampled voice 
without reducing the sound quality. 

• The S — 50 can select a sampling frequency of 30 or 15kHz. 

•Each of the two Banks can store up to 14.4 seconds of data when 
the 15kHz sampling frequency is selected. 

•The S — 50's memory can store up to 32 different Tones (=Wave 
data + Tone Parameters) and 8 different Patches ( = 32 Tones 
assigned to different ranges on the keyboard). 

•The Multi Patch Play function allows the S-50 to simultaneously 
play up to four Patches using four individual receive channels. 
This function can be effectively used for controlling the S-50 by 

a sequencer. 

•The 16 voices can be assigned to the four Individual Output Jacks 
in eight different ways (e.g. 8,4,2,2). This enables you to play up 
to 4 Tones or Patches separately through the four output jacks. 

•The S-50 can be set up with a CRT color monitor display 
featuring an RGB input or a home TV set featuring a video 
connector, or a black and white display for a computer. 

•The sound data in the S-50 can be saved onto 3.5" floppy disk 
for future use. 

•Using the optional Digitizer Tablet DT-100. the waveform or 
envelope you draw can be programmed in the S— 50. 



CONTENTS 



Pane! Description 3 

Important Notes 7 

Connections • 10 

CD Outline 12 

1. The S-50's Seven Modes •••• 12 

2. What is .the S-50 

Sampler Keyboard 13 

(Z) Procedure I 16 

1. Booting 16 

2. Play Mode 19 

GO Procedure II • • - 22 

1. Basic Procedure « 22 

2. REC (Sampling) Mode--- 28 

a. Setup for Sampling 28 

b. Wave Scope of Input Signal- •■ 29 

c. Selecting a Tone 

Number for Writing 29 

d. Checking Input Level 32 

e. Setting Parameters for 

Sampling 32 

f. Executing Sampling .• 35 

g. Monitoring the Sampled 

Waveform: 37 

3. Edit Mode--- 38 

a. Making a Patch 38 

Setting Main Patch 

Parameters 39 

Split Set 44 

b. Setting Tone Parameters 46 

Setting Main Tone Parameters - 47 

Loop Set 50 

Vibrato 57 

Envelope 58 

Parameter Setting with 

the Tone Map 63 

c. Editing Wave Data 64 

Delete 65 

Truncate 66 

Copy 70 

Mix 72 

Combine 74 

Digital Filter 76 

Drawing Waveform 78 

Monitoring Wave 81 



4. Function Mode g2 

Setting Master Tune 82 

Assigning a function to each 

Controller 82 

Setting Trigger Play 84 

Initialization 86 

Setting a Disk Label 88 

Disk Note Pad 88 

Setting M>uUi -Play 89 

5. MIDI Mode 92 

Setting MIDI Functions 92 

Setting Program Change 
Numbers 94 

6 Disk Mode 92 

Loading the entire data 96 

Loading FUNC Parameters 97 

Loading MIDI Parameters 98 

Loading a Patch 99 

Loading a Tone 1Q0 

Directory of Tone Names 

on a disk 103 

Directory of Patch Names 

on a disk 103 

Saving the entire data 105 

Saving FUNC Parameters 106 

Saving MIDI Parameters 107 

Saving a Patch 108 

Saving the System 109 

Formatting no 

Backup in 

7. AUX Mode H3 

DT-100's Switch 113 

Convert 113 

Change System 114 

Error Massage Table 115 

Specifications hq 

Index 117 



VO 



en 

z 
o 

E 

DC 

U 

w 

LU 

Q 

.j 

tu 

Z 

£ 

3 




IMPORTANT NOTES 



< S-50 > 

•Switching the S-50 off will erase all the data programmed in the S-50. Be sure that the Power 
switch is not touched accidentally, or the power cord is not disconnected. 

•The appropriate power supply for this unit is shown on its name plate. Please make sure that the 
line voltage in your country .meets ..the requirement. 

•Do not use the same socket used for any noise generating device (such as a motor or variable lighting 
system). 

•This unit might not work properly if turned on immediately after being turned off. If this happens, 
simply turn it off, and turn it on again after wailing a few seconds. 

• When turning the S-50 on or off. be sure the disk drive is empty. 

•When disconnecting the power cord from the socket, do not pull the cord. Hold the plug and 
disengage carefully, 

•If this unit is not to be used for a long period of time, be sure to disconnect the power cord from 
the socket. 

• It is normal for this unit to get hot while being operated. 

•Avoid using this unit in excessive heat or humidity, or where it may be affected by direct sunlight 
or dust. 

•Place this unit in a steady, horizontal place. If it is inclined upward at more than 10 degrees or 
downward at more than 20 degrees, the disk drive may not function properly. 




• Use a soft' cloth, and clean only with a mild detergent. 

• Do not use solvents such as paint thinner. 

If this unit happens to fail to function properly, turn it off once, then turn it on again. 



< Floppy Disks> 

Floppy disks are delicate and can be ruined if not handled properly. 



Do not touch the Shutter 



/ 















\ 



















\ 



/ 






[-n_ 


■ "* 




J 





















Magnetic film is included here. 



WRITE 
PROTECT 



Protect Tab 

» To prevent accidental loss of data, be sure to 
set the Protect Tab to the PROTECT position 
except when writing (recording) data. 



• Do not expose the disk to strong magnetic fields such as a TV set or speakers. 

•Do not touch the shutter that covers the magnetic film. The magnetic field can be easily damaged, 
even by slight amounts of grease. 

• Keep the disk away from extremely hot or cold temperatures, direct sunlight or dust. 

•To prevent accidental loss of data, be sure to set the Protect Tab to the PROTECT position, except 
when writing (recording) data. 

•Never remove the disk, or switch the unit off, while the disk is running (when the disk drive indicator 
is lit). The disk may be permanently damaged. And while the disk drive is running, do not give a 
strong shock to the unit, or data may be improperly read from the disk. 

•In transit, remove the disk from the disk drive, otherwise the disk and the disk drive may be 

damaged. 



< Color CRT Display> 

Before connecting a color display to the S—50, make sure that the monitor's input matches the output 

of the S-50. If not, do not use the monitor with the S — 50. 

The output of the S~50's RGB Connector matches the TTL RGB 200 lines. 



PIN 
No 


Signal 


Spat 


1 


+ 5V +5V pow»r output 




2 


GND Earth 




3 


Open 




4 


HSYKC 


HDWomai Sync agni! 


TTt iivti ntsiiwt 


5 


VSYKC 


Vortical Sync sign*! 


6 


R 


Video signal (red! 


TP, Itvtl poiiBvt 


7 


G 


Vid»o signal jgr tan) 


a 


B 


Video sgnaflbiue! 




ITiming Chart of RGB Output of the S-50 
• Horizontal Sync signal 

Video signal (RGB) ' j 

Horizontal Sync—-~-—i r— 
*8nal AMflLT 



44.5I/M1 



63.41/uj 
|t$.7S6kH*t 



(Vortical Sync signal 



r 



u 



Video signal (RGBj 
Vertical Sync signal- 



ZL 



»fi T 13.3<m«) : i I 



16.6(«») 



♦ Even when all the above specifications are fulfilled, the S—50 may not work properly. This is because the 
impedance of the connected color monitor differs from that of the S—50. 
(The impedance of the S-50's RGB output is 100 Q. ) 

For connecting the S-50 to most 8 pin monitor displays, use the Roland RGB-25N connection cable. 
Do not use a cable that has different number or different positions of pins. 



IRGB-25N (DIN 8PIN Connector— Square 8P1N Connector) 



s — ^Square SPIN 



r\ 



% 



<^y 



DIN 8 PIN 



T ' , 




SO 01 






BO 02 






TO 03 






BO 04 




• )) 



PIN No 


Signal 


1 


Open 


2 


Vidta signal ired) 


TTliavei 
posmv« 


3 


Video SGnaKgraen; 


A 


Vidto signal (blue) 


5 


Earth 


6 


Earth 


7 


rtomonuJ Syrc stgrol 


TTLiavBl 
negative 


B [Vertical Sync sgral 



The Color Display compatible with the S—50 are 



IBM Model 5234 
Roland DG CC-14-1, etc. 



CONNECTIONS 



Make sure all the units are turned off. then make connections as 
follows. 



SSSkS?*" 



ZE3 



.■Q? 



rwi 



* 1 



,/ 



Digitizer Tablet 
DT-100 



Other MID! Devices 



Hill/ 

\y Microphone 




Home TV set CRT Color Display 

featuring a video 

input connector 

or 

Black end white display unit 

for a computer 



EV-5 



Pedal Switch 

DP-2(optional} 

or 

BOSS FS-5U(optional) 



a/ Ml 

oO°o 
rrm oooo 




Headphones 
RH-10/100 



aoOOOO O 




O 



Keyboard 

Amplifier 



Tape Recorder 



::::::::□ 



PA 

Audio system 



Setup with a mixer, keyboard amplifier, etc. 



The S-SO does not include speakers, and therefore needs to be set 
up with a power amplifier, such as a mixer or keyboard amplifier, 
or headphones. 

Connect the Mix Output Jack' (MIX OUT) on the rear panel of the 

S— 50 to the mixer or keyboard amplifier, etc. This sends out all 

sounds. 

When using the headphones, connect them to the Headphones jack 

(PHONES). 



About the Individual Output Jacks 



These jacks are used for distributing the sound to the 
individual outputs for Muiti Patch Play or Multi Tone Play. 



four 



The S~50 is 16 voice polyphonic, and the Individual Output Jacks 
A to D always divide those 16 voices e.g. 8:4:2:2. However, when 
a jack (or jacks) is not used, the adjacent jacks will take over as 
shown on the next page. Do not use the jacks marked with " X" 
on page 90. 



10 



-INDIVIDUAL OUT- 


A B 


C D 


O O 

II 


o o 

II 


f f 

a 4 


I ! 

2 2 



-BsDtVDUAL OUT- 
A B C D 
O O O 

i 1 i 


J 1 

8 4 
(6 4 


4 

2-2) 



-^DIVIDUAL OUT- 
A 8 C D 
O O O 

II 1 


1 ! 

B 5 

(8 1: 


2 



-MDMOUAL OUT- 


A 


B 


c 


D 


O 

I 


o 

I 


o 





I 

B 


1 

a 






(a 


4 - 


- 2- 


-2) 



Connecting a CRT Display 



Depending on the Voice Mode set in the MULT! PATCH, or MULTI 
TONE in the Function mode, the jacks to be used vary, the essential 
difference being the number of voices assigned to each MIDI channei. 
(explained in detail on page 89.) 



The S-50 Version 2.00 system requires a CRT Display. 

To connect a color CRT Display to the S-50, read "Color CRT 
Display" on page 9. 

To connect a 200 line black and white display for a computer, or 
a home TV set featuring a video input jack, use the connector for 
a Monochrome monitor display (MONOCHROME). 

* Small screen TV sets, such as a pocket size TV, are no good as S— 50 
displays, because they are too small to see the letters clearly. 




► Insert the hooks of the FD 
Case to the holes at the mid- 
die of the rear panel, then fix 
it by pushing it down. 



FD Case 



11 



OUTLINE 



[D OUTLINE 

1. The S~50's Seven Modes 



Using the Mode Seiector Buttons, any of the following seven modes 
can be selected. 

Please note that the corresponding indicator lights up except when 
in the Play mode. 



► PLAY Mode 

This mode turns the S — 50 to the playing mode. 

► Sampling (REC) Mode 

This mode turns the S— 50 to the recording mode. 

► Edit Mode 

In this mode, the sampled voices can be modified and assigned to 
different keyboard ranges to make a Patch for performance. 

► Function (FUNC) Mode 

This mode can select the basic functions of the S— 50, e.g. Master 
Tune. 

»MJDI Mode 
This mode is for setting the MIDI functions, e.g. MIDI channel. 

(DISK Mode 

This mode is for saving the data in the S— 50's memory to a 
3.5" floppy disk, or loading the data from the disk to the S-50. 

»AUX Mode 
This mode is provided for further procedures. 



12 



OUTLINE 



2. What is the S-50 Sampling Keyboard? 



The Roland S — 50 Sampling Keyboard is a completely new type of 
keyboard, which' can record (sample and record into computer 
memory) ail sorts of sounds, then play these sounds with the 
keyboard. 

The S— 50 is conceptually like a tape recorder in that it records 
sound. However, the recording process is very different, since the 
S-50 is recording into computer memory. Computers can accept 
information only as digital signals, so the S — 50 converts audio 
signals into digital. It does this by examining (sampling) the 
incoming signal level a great many times a second, and sequentially 
recording these different levels in computer memory. This digital 
recording process is called SAMPLING. 




Waveform fed— in 




Converts the levels of a 
J wave into digital signals. 



30kHz Sampling— 0.4aoc 
15kHz Sampling— 0.8sac 



The sampling frequencies are the number of times per second that 
a sample is made of the input signal. The S — 50 can sample either 
at 30,000 or 15,000 samples per second (30 or 15kHz) 

At higher sampling frequencies, the sampling time is shorter, but the 
audio quality of the sample is better. On the other hand, at lower 
sampling frequencies, longer samples are possible, but the audio 
quality of the sample is slightly lowered. 

The data of the sampled sound is called Wave deta, and the place 
where the Waves are stored is a Wave Bank. The S-50 contains 
two Wave Banks A and B. Each Wave Bank can sample up to 7.2 
seconds at 30kHz sampling, and 14.4 seconds at 15kHz. A Wave 
Bank is divided into 18 sampling units, which are 0.4 seconds long 
at 30kHz sampling, and 0.8 seconds at 15'kJiz, 



j 


! ! ! 1 I 


1 


B 


! 1 1 t 1 


' 


1 II I I 


' 


1 lil; 



30kHz Sampling 7,2sac 
15kHz U.daec 



Using an optional Digitizer Tablet, the waveform you draw can be 
programmed into the S-50. 



13 



OUTLINE 



Tones 



The Wave data written in a Bank can be read and reconstructed 
with a set of Tone Parameters. The combination of a wave and a 
set of Tone Parameters creates an Original Tone. The sampled Wave 
can be truncated, cutting away unneeded portions of a wave, or two 
waves can be mixed, etc.(This is called Wave Data Editing.) Also, 
the values of Tone parameters that determine how to read the wave 
data can be changed. In other words, an Original Tone can be made 
of an intact sampled wave, or edited wave, plus a set of Tone 
Parameters . «se t -at- . -walues you 4ike. 

The S-50 allows you to borrow the Wave data from an Original 
Tone and make a different Tone ( = Sub Tone) with different values 
of Tone Parameters. 





ORIGINAL TONE 








SUB TONE 




















f 








f, 
M 

\\fa\h 

j! l* ■ 
II 




vJuyy,,- 








PARAMETER® 




PARAMETER® 













See page 47 for detailed explanation of creating a Sub Tone. 

To view Tone information, refer to page 30 for description of Tone 

list display. 



Application of Sub Tones (how to use wave banks) 



The shortest sampling time of the S— 50 is 0.4 seconds. This means 
that empty space may be left in a wave bank. For instance, when 
the sampling time is set to 1.2 seconds, sampling a 0.9 second sound 
will leave 0.3 second space. Here, you can connect a tone shorter 
than 0.3 seconds to the existing sample by using Trancate (page 66) 
and Combine (page 74), then set two different Start and End points 
(page 50). In this way, two different samples (an original tone and 
a sub tone) can be created. (The system disk contains many tones 
made in this way.) 



■ Sampling TimB 




Start Point End Point Start Point End Point 

ORIGINAL TONE SUB TONE 



14 



OUTLINE 



'Patches 



Therefore, up to 32 tones (Original Tones and Sub Tones) can be 
programmed. 



EacH of the 32 Tones can be assigned to a different keyboard range. 
The key assignment of the Tones and the performance controlling 
functions are combined to make a Patch. Up to 8 Patches can be 
programmed in the S-50. 



REC Mode 








EDIT Mode 










: 


-' 


Wave input by Sampling 






Editing Wava Data 


_ 


Setting Tone Parameters 


_ 


MaWng Patches 


: 












! 


Wave Scone of input signal 


Delete 




Tone Parameters 


Patch Parameters 


■ 




12 W. SCOPE 




21 DELETE 




13 TONE PRM 




1 1 PATCH PRM 


: 


Sampling 




Truncate 


• 


Loop Set 




Split Set 


: 




11 SAMPLING 




22 TRUNCATE 




14 LOOP 




12 SPLIT 


: 


















; 






















23 COPY 




15 PITCH MOO 


: 




Mix 




Envelope 




i 






24 MIX 




16 ENVELOPE 


: 




Combine 




Tone Mac 




i 






2S COMBINE 




17 TONE MAP 


• 




Dfilter 
















26 D. FILTER 




• 




Drawing 


a Waveform 


: 






27 WAVE DRAW 


: 




Monitorit 


ig Wave 


: 






26 DSP. WAVE 


: 




















FUNC Mode 


! 






Setting 


Master Tuna 


Function Assignment to 
Controllers 


Setting Trigger Piny 


Initialize 


i 






tt MASTER 




12 ASSIGN 




13 TRIG PLAY 




14 PRM INIT 












\ 
























' 






15 DISK LABEL 




16 NOTE PAD 




17 MULTI PATCH 




18 MULTI TONE 








i 




' 










b 


MD\ Mode 


J 


— e» 




PLAY Mode 






Setting 


MIDI Function* 


Sattino 


s rogr»m Change 


Setting System Exclusive 


\ 




Patch Play 






1! MESSAGE 


Numbers 


12 PROG NUMBER 




13 EXECLUSIVE 




Tone Play 








' 









15 



PROCEDURE 



2 PROCEDURE 



1. Booting 



The S-50 cannot be played immediately after being turned on. The 
system program on the supplied system disk should be transferred 
to the S— 50 to operate it as a sampling keyboard. This procedure 
is called Booting. The system disk to be used is a Ver. 2,00 disk. 
After reading the program from the system disk, the, S-50 continues 
to read the Sound Data (Tone Data, Patch Data, Function Data, MiDi 
Data,) stored on the same system disk ( = LOAD ALL), and is then 
ready for playing. 



Sound Data 



System Program 



Tone Data 



Patch Data 



Function Data 



MID! Data 



Wave Data and Tone Parameters 

Patch Parameters 
Parameters set In Func Mode 
Parameters set in MIDI Mode 



Step 1 



Before switching the S-50 on, check if : 

(1) the S-50 is properly set up with the other units and 

(2) nothing is inserted in the Disk Drive. 
Turn the S — 50 on. 



Roland 



SAMPLING 



Flease Insert- System Bisl< 



16 



PROCEDURE 



The disk drive indicator lights up. 

Step 2 Make sure the Protect Tab on the disk is set to the PROTECT 

position, and insert the disk securely until it clicks into position. 




When the system program is properly loaded, LOAD ALL (loading all 
the data) begins. The Display shows "NOW LOADING" and a two 
figure number that counts down. When it counts down to 00, the 
data is loaded, and the Display automatically returns to the Play 
mode indication. 

* While the disk drive indicator is slight, and the number is counting 
down, do not remove the floppy disk or turn the unit off. Doing so 
would damage the disk permanently, or erase the data saved on it. 



17 



PROCEDURE 



< Back- up of a System Disk> 



The disks will become erased naturally after a certain length of lime. 
To avoid the loss of important data, make it a rule to make a few 
back-up disks. The S-50's Backup function allows you to save the 
entire data on a disk. 

Use a 2-DD type floppy disk (3.5" double sided, double density, 
double track micro floppy disk) such as a Roland MF2-DD, 



How to backup the System Disk 



Boot the S-50 with the Ver. 2.00 system disk, then do the 
following : 

Step 1 Push the DISK button (Mode Selector Button) to turn to the Disk 

mode. 

Step 2 Push the PATCH button, then the P8 button. This selects the 

Backup function from the DISK menu. 

Step 3 Remove the system disk from the disk drive and insert a floppy 

disk for back-up, with the Protect Tab set to the WRITE position. 

Step 4 Push the SHIFT button to open the Command Window. 

Step 5 Push the ENTER button. The Display will say "FORMATTING", then 

it counts down to 00, and then "NOW SAVING", another countdown, 
then "COMPLETE". 

Step 6 Push the Eject Button, remove the floppy disk, then return the 

Protect Tab to the PROTECT position. 

It may be a good idea to make a backup of the entire sound library 
or your own programs. 

If the supplied system disk happens to be erased or damaged, 
consult your local Roland service department. 



18 



2. Play Mode 



PROCEDURE 



E5T Vibraphone 
P2 Trumpet PS Marimba 

P3 Slair Bass P7 U.Bass/WiJSe 

PA Picked Bass F8 U.Bass/GIkn 



Voic& Made 

fl-Cl«3 B-C 01 C-C 03 D.-C 01 

1 2 3 * 

Pi P2. P3: F4. 

127 127 127 127 



When the S-50 is booted, it wiil be automatically 

turned to the Play mode. 



inwHnwHnwniifnTfTUTT 



U Rj Cs 



"Patch Play" is piaying one or more of the eight Patches, which is 
the basic condition of the Play mode. 

"Tone PSay" is playing one or more of the 32 Tones. A Tone is 
played with the performance controlling functions (e.g. Bend Range 
parameter) which are set in the Patch previously used, or right after 
the S— 50 has been Booted, with the Pi's parameters. 

You can select the Patch -er- Tone Play as shown below. 



Patch Play Tone Play 

patch i ~^~^ |~pa Tch~J 




r~PAK>T"| 
Dark 



] j PS j [ P6 | 



Alight N - 



^ Selecting a Patch 



p 2 



p 3 



p 5 



P 6 P 7 



j P 8 



K Selecting a Tone 



SHIFT 



SHIFT I 



Selecting a Tone Bank 



The indicator of the Patch Button lights up and goes out alternately 
by pushing it. When it is alight, the S-50 is in the Patch Play, and 
when dark. Tone Play. In the Tone Play, use the Shift Button to 
change Tone Banks. 



19 



PROCEDURE 



Piay Mode Procedure Map 



pi 



PLAY 




Tone Paly 
— | P ^ H \ — r~-| SHIFT " 



— | SHIFT' {- 



SHIFT 



y- 



SHIFT 



h- 



PI 
P2 

F3 
P4 

~P5_ 
P6 
P7 

pa 



P8 





3S 


32 


33 


3d 


35 


36 


37 


38 





41 


42 


43 


44 


45 


46 


47 


48 



If the S-50 receives MIDI Program Change or Volume messages 
while in playing in the Play mode, sound delay may occur because 
it takes a few seconds to change the Display. To resolve this, push 
+ PAGE. 



20 



PROCEDURE 



Multi Play Mode 



The S — 50 can simuiiancouly play up to four different Patches or 
Tones using four different MIDI channels. However, this does not 
increase the number of available voices (16 voices). 

The Muiti Play function allows you to divide the 16 voices into up 
to four voice groups, and assign a receive MIDI channel, and a Patch 
or Tone to each voice group. To play the Patch (or Tone) with 
a keyboard, select the voice group to be played (or OFF ) with 
17 MULTI PATCH" or "18 MULTI TONE" in the Function Mode,(See 
page 89.) 



Voice Mode 1 












Voicu Mode 1 


Ch A MIDI Message 
Ch B MIDI Message 
Ch C MID! Message 
Ch D MIDI Messaoe 








ChA\J/ ChBty ChC\[fChDty 






oooooooooooooo 


o o 

D-l Vata. 








A A A A 




INDIV 


DUAL OUT A if 


B t 


C Y 


°r 



If the Play Mode Display shows as follows, all the 16 voices can be 
played by the S— 50's keyboard. 



K. B= A Voice Mode= 8 



To play the S — 50 with its own keyboard, set it as above so that 
all the 16 voices can be played. First, follow the "Basic Procedure," 
(see page 22) then change the Display as above with "17 MULTI 
PATCH" in the Function Mode. 

In the above case, use only the Mix Output, or Individual Output 
Jack A. 



21 



PROCEDURE II 



O PROCEDURE 



1. BASIC PROCEDURE 



Please study the following procedure table before actually taking 
procedures. 



MODE 



MENU 



PAGE 



REC 



-c 



t! SAMPLING 



12 W. SCOPE 



(P. 29) 
(P. 29) 



SEL 



SET 



I gD1T h ~ 



PATCH 



1! PATCH -PHM 



12 SPLIT 



13 TONE PHM 



14 LOOP 



IS PITCH MOO 



16 ENVELOPE 



17 TONE MAP 







21 DELETE 


22 TRUNCATE 






23 COPY 


1 j PATCH 




24 MIX 


25 COMBINE 








26 DPILTEB 




27 WAVE DRAW 




26 DSP. WAVE 



(P. 39) 

{P. 44) 

(P. 46) 

(P. 48) 

(P. 57} 

cp. sa>- 

(P. 63}- 

(P. 65) 

(P. 66) 1 

(p. to: 

{P. 72) 1 

(P. 74> 

(P. 76) 1 

(P. 78) 

CP. 81) 



SET 



INFO 



SET 



TYPE 1 



NAME 



SET 



NAME 



TYPE 2 



TYPE 3 



ENV 


CTRL 


PATCH 


TONE 



SEL 



SEL 



SEL 



SEL 



SEL 



SEL 



SET 



SET 



SET 



SET 



SET 



SET 





1! MASTER TUNE 






!2 ASSIGN 




13 TRIG PLAY 






t4 PRM INIT 


| FUNC 






15 DISK LABEL 






16 NOTE PAD 




17 MULT! PATCH 




18 MULT) TONE 



(P, 82) 
(P. 62) 
(P. 84) 
(P. 86) 
(P. 86) 
(P. 68) 
(P. BB) 
(P. 89) 



MIDI 



£ 



II MESSAGE 



12 PROO NUMBER 



13 EXCLUSIVE 



(P. 92)- — | fix' 
(P. 83) 
CP. 94) 



TX 



DISK 



PATCH 



PATCH 



11 LOAD ALL 



12 LOAD FUNC 



13 LOAD MIDI 



14 LOAD PATCH 



15 LOAD TONE 



17 OIR TONE 



18 DIR PATCH 



21 SAVE ALL 



22 SAVE FUNC 



23 SAVE MIDI 



24 SAVE PATCH 



25 SAVE SYS 



27 FORMAT 



28 BACKUP 



{P. 96) 

CP. 97) 

CP- 98) 

CP. 99} 
CP. TOO) — [ 
(P. 103) 
(P. 103) 

CP. 105) 
(P. 106) 
CP. 507) 
CP. 108) 
CP. 109) 
CP. 510) 
CP. Ill) 



DISK 



AUX 



I! DT-100 



12 CONVERT 



18 CHANGE SYS 



CP. 113) 
CP. 114) 
CP. 114) 



22 



• How to select a Mode 



PROCEDURE II 



Push the relevant Mode Selector Button, end the indicator lights up. 



REC 




AUX 






FUNCTION 


MID! 




ED!T 




DiSK 



PLAY 



How to select a menu 



'How to change pages 



Each mode has one or two manus. For editing data, call the 

relevant menu, and change pages if necessary. 

When a MODE is selected with the corresponding Mode Selector 
Button, the menu currently selected is shown in the upper portion 
of the CRT Display. Make your choice from the menu with the 
appropriate button (P1 to P8). To select higher than number 20, 
push the Patch Button, which changes menu displays alternately. 



When the menu in use has more than one page, you can change 
pages with the —Page or -fPage Button. 



I PATCH I j p~i j I P~2 I [ P~3 I 

b 



Changing Menu 
Displays 



p 5 



PS SHIFT 



h Selecting a Menu 



-PAGE 



+ PAGE 



K Changing Pages 



23 



PROCEDURE !i 



• Display Structure 



Mode Menu currently selected Menu Display 



Selected Page 
Page Display 



Parameter \ 



I I 



EBIT 



vimaimmsti&sm 



12 SPLIT 

13 TONE 

14 LOOP 



is bitch mod 
16 envelope: 

it tome map 

18 



PI Flute i a:'->T#3S? 


®.iaw^tSE«nniiwij^;;^s;'. ■:•..: "■ " 


1 Key Mode 


Normal 


2 Detune 





3 M-SW Ihrsh 


64 


4 V-HIX. Ratio 





5 Bend Hange 


2 


6 Mod, Depth 


40 


7 A.T Sense 


127 


8fl»I Assign 


Mod 


9 Oct. Shift 





18 Outxuit Level 





•Message 'Line 



Mode 

This shows the currcntTvlode, 

Menu Display 

The menu choices included in the selected mode are shown. The 

cursor position displays the current selection. 

Page Display 

When the menu in use has more than one page, this window shows 
the names of ail the pages. The cursor position displays the page 
currently selected. 

Message Line 

The left side shows the selected Patch or Tone, and the right side 

shows messages for necessary procedures. 

Cursor 

The cursor can be moved with the Cursor Buttons. 



24 



PROCEDURE tl 



How to enter a value 



'Executing a command 



Alpha Dial Entry 
Rotate the Alpha Dial. 

Ten Key Entry 

To enter a number, simply push the corresponding number keys. 
For minus number, push the key twice before the number. 

To enter data other than numbers, push the corresponding number 
key (this is shown at the end of each parameter name in the later 
part of the manual). 

Push the relevant number key (s), and the number is shown at the 
Message Line. Then push the Enter Key. This will rewrite the value 
at the cursor position. If you wish to enter the same value at 
another place, simply move the cursor and push the Enter key. A 
value that exceeds the variable range will be substituted with the 
highest or the lowest number. 

crDuring the Naming procedure (Patch naming, Tone naming. Disk 
label setting and Disk memo writing), the Ten Key Pad works 

differently. Read the explanation on each menu. 



When the Display shows* "COMMAND" at the message line, you can 
open a command window by pushing the Shift Button. When a 
Patch or Tone name is shown at the left side of the message line, 
pushing the Shift key lights up the cursor at the Patch or Tone 
number. In this case, you need to push the ► or T button to open 
a command window. 



EB£X 



in patch'trm:^ 



12. sfux 

13 TONE PRH 

14 LOOP 



Pi Flu-te 1 



1 Key Made 
2. Detune 

3 tf-SW Thrsh 

4 V-ttrX Ratio 

5 Bend: Range 

6 Had, Berth 

7 A.X Sense 
S ft..T Assign 

gr oct:^ SHtft 

10 Output LeveL 



15 PITCH rtOB 
±S ENVELOPE 
17 TONE WAP 
IB 

NHAND 



SOURCE 



Norma L 



OPVf ALL 

■CQPVf PAGE 

INIT ALL 

IN IT PAGE 

WAP ALL 



•Command Window 



25 



PROCEDURE [I 



Sound during Editing 



Any Command with a ">" mark can be executed by pushing the 
Enter Key. 

Move the cursor to the command to be executed and push the Enter 
Key. The contents of each command is explained in each menu. 

Basically., the name of a command is shown in the command 
window. However, when the command is a menu, such as the- Save 
or Load menu, the command window shows only EXECUTE ) instead 
of the name of the command (menu). In this case, pushing the Enter 
Key executes the command. 

Pushing the Shift button once again will return the Display to a 

normal condition. 



The S-50 allows you to actually hear the sound while editing the 
Patch, except for a few cases.' Also, when editing Tone parameters 
or wave data, you can play the relevant Tone. 

The number of voices played while editing is determined by how 
the Mulli Play is set. When the Play mode Display shows as below, 
all the 16 voices can be played from the keyboard at the same time. 



K. B= A Voice Mode = 8 



If you wish to continue editing in 16 voice polyphonic mode, change 
the display by choosing "17 MULTI PATCH" (in the Function Mode) 
before proceeding. In this case, do not use the output jacks other 
than the Mix Output Jack, or Individual Output Jack A. 



26 



PROCEDURE II 



< Data Saving onto a floppy disk> 



All Data written in the S — 50's internal memory will be erased when 
the unit is turned off. If you wish to retain the data, save it onto 
a floppy disk. 

To save all THE SOUND DATA in the interna! memory, use the 
"SAVE ALL" command in the Disk Mode. 



S . j \ 






S — 50's internal memory 








SAVE ALL 








System Program 






System Program 












Tone Data 






&:??:#:£TP n .* .Data-- 




Patch Data 


:j:j:i:i:;:::;v!Patc:h; Data! 






(Loading ali data) 




Function Data 


•; -Function- Data;.;:; ■.<■;-. 


MIDI Data 


MIDI Data-: 




J 









A brand new disk, or a disk used for a unit other than the S — 50 
needs formatting (FORMAT in the Disk mode) before saving data 
onto tt. FORMAT turns the disk to S — 50's exclusive use and saves 
the system program. 



FORMAT 



System Program 



Makes a space for the S — 50 data, and writes the system program 
on a brand-new disk, or a disk used for something else. 



The BACKUP function allows you to execute bath the FORMAT and 
SAVE ALL commands at once. 



27 



PROCEDURE II 



2. REC (Sampling) Mode 



Sampling 

11 SAMPLING (P. 29) 

Wave Scope of Input Signal 
12. W. SCOPE (P. 29) 



[Wave Input by Sampling] 
a. Setup for Sampling 

. Step 1 
Step 2 



Connect the output of the microphone, or audio equipment, to the 
Input Jack of the S-50. 

To sample a sound from a microphone or guitar, set the Input Gain 
Knob to the MIC position, and to sample from audio equipment or 
a TV, set it to the LINE position. 



INPUT- 




A A A I 



O 



IllWIlli 



Synthesizer etc. 



GAIN 



•:o- 



LINE MIC 



TV 





Audio Devices 



Guitar 



Microphone 



Step 3 Push the Enter Key to start sampling. Or instead, connect a pedal 

switch (e.g an optional DP -2) to the Rec Start Jack, and push 
the pedai. 



28 



PROCEDURE 11 



b. Wave Scope of Input Signal 
12 W. SCOPE (Wave Scope) 



ittc 11 sfitiPtar-Ki 



j^-^^mitmimMms^mii^sssm pw-^ehtsb 



In this case, the input signal can be shown as a 

waveform. 




For instance, when a voice signal is fed into the S — 50, the Display 
shows a moving wave. Here, pushing the Enter Key will stop the 
movement and show a stationary waveform. If you wish to see the 
moving wave again, push P2. 

Be sure that the Recording Level Knob is set to about the center 
position. 

* While o wave is moving, none of the buttons except ENTER work. 
So, to go to another mode, push ENTER first. 



c. Selecting a Tone Number for Writing 
11 SAMPLING : SEL 



ll± v SAMPLING '"£'' 



ia u. scope 



Source 

i ; 

±. Flute-ft FIute-B FIute-A Flute-H 

Z Elute-C FHtte-D Flute-C Flute-D 

3 Steasn-G Stewn-B Steam-ft Steara-R 

<t Hecdr-rt Hecdr-B Recdc~fl Hecdr-R 

5 Reedr-C Hc-cdr-B Recdr-C Heedr~B 

6 Wateki-rt Uatefci-a Uateki-fl Uatelci-a 
T U*teki-B Uatelci-h Flute-rt Ua.teki.-b 
8 Ocar-rt Oc;u— B Ocat— (l Gcar~B. 



Remit in iitgr Time fl-0.8 
B-B.B 



In this page, you can select a Tone Number where 
the sample is to be written. Any of the 32 Tone 

Numbers can be selected. 



29 



PROCEDURE II 



• Tone List Display 



When an Original Tone is selected as a new location, the Wave data 
that is contained in that Tone is erased (it is erased when SHIFT 
is pushed before actually sampling), with the- new Wave data taking 
its place. This means that a Sub Tone that uses the erased Wave 
data will be deleted, becoming an unused Tone. 

When a Sub Tone is selected .as ., «fl .. nfi.iv -location, Jhc . sampled Wave 
data replaces the one borrowed from an Original Tone. In other 
words, the Sub Tone becomes an Original Tone. 



The name of an Original Tone is displayed in yellow, and a Sub 
Tone in white. 

Pushing T makes the Display show the contents of the Wave data 
of Tones. This will help you when you are selecting a destination 
Tone Number. 











A-0. 8 


Display of an Original Tone at 30kHz Sampling. 










A-0. 8X2 


Display of an Original Tone at 15kHz Sampling. 




A letter represents a 
A number represents 


Wave Bank. 

the sampling time (sec). 




* * 11 * * 


Display of a Sub Tone. 










# # * * 


Display of an empty (unused) Sub Tone. 




The number in the 
the sub Tone borrov 
or the Sub Tone th' 
Tone. 


Display represents an Original Tone from which 
i/s Wave data. [ — ] represents a deleted Tone 
at does not borrow Wave data from an Original 



Pushing A will return to the norma! Display, 



30 



PROCEDURE 



• Remaining Time Display 



Maximum Sampling Time 



The remaining time of each Wave Bank is shown in seconds at a 
30kHz sampling frequency. When sampling in 15kHz, multiply it by 
2. 



The maximum sampling time to be set varies depending on the 
destination Tone number selected in this page or the Wave Bank 
selected in the next page. Please check if there is sufficient space 
left. 

■Maximum sampling time when writing into an Original Tone in the 
same Wave Bank : 

i 

Previous Wave Data + Remaining Time of the Wave Bank 

■Maximum sampling time when writing into an Original Tone in a 
different Bank or writing into a Sub Tone : 

i 
Remaining lime of the destination Wave Bank. 

If there is not enough space, you should delete some unneeded data 
to increase the remaining time. You may either delete a Tone 
with [21 DELETE] in the EDIT mode, or cut off the unneeded 
portions of a wave with [22 TRUNCATE]. (This is erasing data 
loaded into the internal memory, therefore, the data in the disk is 
retained intact.) 

Using the Alpha Dial or Ten Key Pad, assign the destination Tone 
Number for the sample at the cursor position, then push + PAGE 
to go to the SET page. 



31 



PROCEDURE II 



11 SAMPLING : SET 



Ll- SAMPLING -.v$Wl| 



12L M. SCOPE 
±3 



TCOnflAND ..-,.*.'• 



S=Br-Sax:-fi 

i. Uavs Bank 

2 Frequency 38 

3 Time 0-0 

4 Gt-itf.Koy C ! 

6 Pre-Tc-iger 0ais 

Eeaiaiiiincf Time 0-0.8 
B-0.0 



In this page, you can check the input level, set the 

values of the parameters, and open a command 
window to execute sampling. When you have 
finished sampling, the recorded wave data can be 

seen. 



d. Checking Input Level 



As you feed an audio signal, set the level as high as possible 

without causing the Display to show "OVER," using the Recording 

Level Knob on the front pane! and the Input Gain Knob on the rear 

panel. 

The audio signal fed into the S-50 is sent through the Mix Output 

Jack, and therefore can be monitored through the connected amplifer, 

*When sampling from a microphone, you moy hear a howling noise. If 
so, turn down the volume of the amplifier, or monitor through 
headphones. 



e. Setting Parameters for Sampling 

1 Wave Bank [A/B] 

This selects the Wave Bank where the sample is to be written. 

2 Frequency (Sampling Frequency) 

This selects the sampling frequency. 

[30] Ten Kay 

This records a sound with 30kHz sampling frequency. 

[15] Ten Key 1 

This records a sound with 15kHz sampling frequency. 



32 



PROCEDURE 



3 Time (Sampling Time) 



This sets the sampling time (0.4 sec slops). You can select up to 
the maximum sampling time. When 15KHx sampling frequency is 

selected, multiply the sampling lime by 2. 

When setting the sampling time with the. Ten. Key ,, pad, ..enter .ihe 
number that represents how many 0.4 sec segments should be used. 
For instance, for 0.8 sec, enter 2. 

If the maximum sampling time is longer than that of the sample, 
select a longer sampling time so that sampling can be more 
successful. You can truncate the wave later in Edit mode with [22 
TRUNCATE]. 

When the sampling frequency of 15kHz is selected, x2 is shown at 

the sampling time. 



4 Orig. Key (Original Key) 



[CO to C9] 

The Original Key represents the key at which the original sample 
was played. 

When sampling from a musical instrument, you may have to set a 
Key number that matches the pitch of the sampled sound. Middle 
C is shown as the Key C4, and a semi-tone as #. 

A Key number can be entered by assigning the corresponding 
number with the Ten Key Pad. These numbers are shown on the 
keyboard of the S-50 illustration on the front page of this manual. 

*Tha highest pitch which can be played on the S-50 is 2 octaves 
above the sampled sound. Higher pitches cannot be played. 



33 



PROCEDURE II 



5 Threshold (Sampling Threshold) 



[0 to 127] 



AUTO sampling starts the moment a signal of a certain level 
( = threshold level) is fed in. When the threshold level is set to 
zero, sampling starts the morment ENTER is pushed.. 



Level « 



f 

Threshold 



6 Pre- Trigger 



Pre— trigger allows you to record the Wave data even before it 
exceeds the threshold level (before ENTER is pushed, when the 
threshold level is set to zero.) In other words, this function begins 
sampling a little earlier, and therfore saves the beginning of the 

sample from being cut off. 

When the sampling frequency 15kH2 is selected, the Pre -trigger 
time is always shown with x2. 

[10ms] Ten Key 1 

About 0.01 of a second before the Wave data reaches, the threshold 
level, sampling starts. 

[50ms] Ten Key 2 

About 0.05 of a second before the Wave data reaches the threshold 
level, sampling starts. 

[100ms] Ten Key 3 

About 0.1 of a second before the Wave data reaches the threshold 
level, sampling starts. 

[0ms] Ten Key D 

The moment the Wave data reaches the threshold level, sampling 
starts. 



34 



PROCEDURE II 



f. Executing Sampling 

EMaaa 



At this point, check the Display to make sure that you have 
proceeded correctly so far. Then open a command window by 
pushing SHIFT. 

When an Original Tone is selected as. a .destination .Tone Number, 
pushing SHIFT will erase the previous Wave data, adding the 
emptied space to the Remaining time, the Display responding with 
"WORKING." This, however, does not apply to the sampling which 
is done without changing the Wave Bank or Time. This is called "Re 
— sampling" 

When "READY" is shown at the Message Line, sampling can be 
executed. The moment "READY" appears, the internal memory starts 
recording the signal being fed, for Pre -trigger or Previous Sampling. 



I AUTO Auto Sampling 



Step 1 



Step 2 



The Auto sampling can retain the sample (Wave data) from a 
certain time (Pre- trigger time) before the signal fed into the S-50 
actually exceeds"" the threshold level. 

Hit ENTER or push the pedal switch conected to the Rec Start 
Jack on the rear panel. 

The Display shows "WAITING TRIG" until a signal exceeding the 
threshold level is fed in. 

Feed the sound to be sampled. When the level exceeds the 

threshold level, the Display changes to "START." 

When the S-50 has sampled as long as the set sampling time, it 
automatically stops sampling. 

To stop sampling in the middle, push ENTER. Cancelling sampling, 
however, does not shorten the sampling time. 



35 



PROCEDURE fl 



■ MANUAL Manual Sampling 



The Manual sampling can retain the sample (Wave data) from a 
certain time (Pre- trigger time) before you actually push ENTER. 
The total sampling time is kepi unchanged. 

.Step 1 ... Pus h. JSN.TE B jor. the, .pedal switch connected to the Rec Start Jack, 

and feed the signal to be sampled simultaneously. "START" is 
shown at the Message Line. 

When the S— 50 has sampled at the set sampling time, it 
automatically stops sampling. The threshold level has nothing to do 

with Manual Sampling, and is therefore ignored. 

To stop sampling in the middle, push ENTER. Cancelling sampling, 
however, does not shorten the sampling time. 



PREVIOUS Previous Sampling 



Previous Sampling can retain Wave data for the set sampling time, 
that occurs before ENTER is pushed. NOTE: The S-50 continuously 
examines the incoming data stream, and is always sampling. This is 
very useful for monitoring what you want to sample, and then 
sample after the fact. (e.g. monitoring a television show and 
sampling what you have heard). 

Step 1 When the signal to be sampled is fed into the S— 50, push ENTER 

or the pedal switch connected to the Rec Start Jack on the rear 
panel. 



After a sound is sampled, the Display shows "WORKINC" for a 
while. The sampled sound cannot be played while "WORKING" is 
being shown. 



36 



PROCEDURE 



g. Monitoring the sampled Waveform 



Waveform Display 



Remaining Time Display 



Before making a Tone with the sampled Wave data and the Tone 
Parameters, you may wish to play il on the keyboard to hear what 
it sounds like. Also, in the Display, the waveform and the sampling 
parameters can be seen. 



All the Wave data sampled in the Wave Bank is shown in the 
Display. When using a color display, the following three colors are 

seen : 



Blue Wave data previously sampled 

Red Wave data you have just sampled. 

Green Empty space, which has not yet been used. 



This shows the remaining time of each Wave Bank. 

* Sampling will initialize all the Tone Parameters except for the Orig Key, 
and therefore, you need to set these parameters after sampling.(See 
page 46.) 

A sampled Tone will be automatically named "s" (small letter), 

except for when resampied. 

(The default values of the Tone Parameters are shown on page 
87.) 



If you wish to re-sample, push PI. 



37 



PROCEDURE 



3. EDIT MODE 



a. Making a Patch 



This mode makes Patches, sets Tone Parameters and edits Wave 
data. 



..Each. of. .the 32 ..Tones can be assigned to a different keyboard range. 
A combination of the key assignment of Tones, and the performance 

controliing functions (Patch Parameters) makes a Patch. 

Patch Parameters 

11 PATCH PRM (P.39) 



Split Set 
12 SPLIT 



(P.44) 



Calling a different Patch 



Step 1 



Step 2 



Step 3 



In the Patch PRM Display, another Patch can be called and edited. 

Push SHIFT, and the cursor will go to the Patch Number at the 

Message Line. Whan the cursor is at "COMMAND", push -4 . 

Using the Alpha Dial or the Ten Key pad, select the Patch number 
to be called. 

The Display changes to the selected Patch. 

Push SHIFT, and the Display returns to normal. 



38 



Setting Main Patch Parameters 



11 PATCH PRM : SET 



PROCEDURE 



111 '."PATCH .-PHJl^ftil 



12. SBLIX 

13 TONE PHM 

14 LOOP 



is- piich no a 
ZG ENVELOPE 
IT TONE MAP 
IB 



rl riulie i 



• COMMAND 




In this menu . you can set the controlling 
performance parameters of a Patch, and open a 
command window for copying or swapping 
parameters, or initializing. 



1 Key Mode 



One of the following five Key Modes can be selected. 

[Normal] Ten Key D 

This turns the S-50 to 16 voice polyphonic, assigning one module 
and one Tone to a key. 

[Unison] Ten Key -1 

This mode is 8 voice polyphonic, assigning two modules for the 
Same Tone to a key. It is possible to detune one of the sounds 

slightly. 

[V-SW] (Velocity Switch) Tcn Key i 

This is also 16 voice polyphonic, assigning the 1st or 2nd Tones to 

a key. 

Playing the key harder than a certain level (^Velocity Switch 

Threshold) will sound the 2nd Tone, weaker will sound the 1st 

Tone. Each Tone will sound with a set level curve (see page 61) 

depending on how hard you play the key. 

[X-Fade] (Velocity Cross Fade) Ten Key z 

This mode is 8 voice polyphonic, assigning the 1st and 2nd Tones 
to a key. Depending on how hard you play the key, the volume 
balance of the 1st and the 2nd Tones differs. The level curve of 
the 1st Tone is inverted. 



39 



PROCEDURE ii 



[V-MIX] (Velocity Mix) Ten Key 3 

This mode is also 8 voice polyphonic, assigning the 1st and 2nd 
Tones to a key. The 1st and the 2nd Tones are played 
simultaneously, each Tone being played with the volume set by the 
level curve depending on how hard you play the key. 



1st Tone 



Ut Tone 2nd Tone 

+ 





Laval Curva 2 Leva! Curv» 2 



2nd Tonn 




+ 




L.vat C U ™ 2 L « v " CufVe 3 



v-sw 




Tnrsh 




X-FADE 





V-MIX 





2 Detune (Unison Detune) 



[-50 to 50] 

When the Unison Key Mode is selected, one of the sounds can be 
slightly detuned. 50 is roughly half of a semi-tone. 



3 V-SW Thrsh (Velocity Switch Threshold) 



[0 to 127] 



When the V-SW Key Mode is selected, this determines the threshold 
level for the two Tones. Higher values require harder playing to 

sound a different Tone. 



4 V- MIX Ratio (Velocity Mix Ratio) 



[0 to 127] 



When the V-MIX Key Mode is selected, the level curve of the 2nd 
Tone can be changed as shown in the picture. At 0, the volume 
obtained is exactly as in the set level curve. 



2nd Tone 
V-MIX Ratio [~Q""1 



Level Curve 





urn 




Level Curve 2 



40 



PROCEDURE I! 



5 Bend Range [0 to 12] 

This sets the maximum pitch alteration caused by moving the 
bender/modulation lever to the right or left extremes. Each number 
represents a semi-tone; 2 is major 2nd, 3 is minor 3rd. 4 is major 
3rd, 7 is perfect 5th and 12 is one octave. 

If the "Bend Range" is assigned to the Control Knob with [12 
ASSIGN] in the FUNC Mode, the Bend Range parameter can be 
edited even whiie in the playing mode. 

Remember that the pitch cannot exceed the original pitch by more 
than 2 octaves, this applies to the pitch bend lever as well. 

6 Mod. Depth (Modulation Depth) [0 to 127] 

This sets the depth of the modulation when the Bender/Modulation 
Lever is fully pushed toward the word "MODULATION". 

When the "Modulation Depth" is assigned to the Control Knob with 
[12 ASSIGN] in the FUNC Mode, the Modulation Depth parameter 
can be edited even while in the playing mode. 

7 A.T. Sense (Aftertouch Sensitivity) —fO to 127] 

This sets the sensitivity of the aftertouch effect. At 127. the effect 
is at its maximum. 

8 A.T. Assign (Aftertouch Assign) 

This can select one of the following four effects caused by 
Aftertouch. 

[Mod] (Modulaltbn) Ten Key o 

Aftertouch controls the vibrato effect 

[Volume] Ten Key 1 

Aftertouch controls the volume of the sound. 

[Bend +] (Bend Up) Ten Key 2 
Aftertouch increases the pitch of the sound. 

[Bend — ] (Bend Down) Ten Key 3 
Aftertouch lowers the pitch of the sound. 

*The pitch bend range of Bend + and Bend - is determined by both 
A.T. Sens and Bend Range. 



41 



PROCEDURE II 



9 Oct Shift (Octave Shift) 



10 Out Level (Output Level) 



[-2, -1. 0, 1. 2] 

This can shift the pitch of the entire keyboard from -2 to 2 
octaves in octave steps. 

[0 to 127} 

This can set the output level of each Patch separately. At 127. each 
Tone assigned to the Patch is played at its set level. 



COMMAND 



Push SHIFT, then move the cursor to COMMAND by using ►, to 
open a command window. 



■ SOURCE 

■ COPY ALL 

■ COPY PAGE 

■ INT ALL 

■ INT PAGE 



'SWAP ALL 



£P1 to P8] 



This assigns the source Patch for COPY or SWAP. 



This copies all the Patch parameters of the source Patch to the 

Patch currently selected. 

Only the Patch parameters of the source Patch which are shown in 
this page are copied to the Patch currently selected. 

This initializes all the Patch parameters of the selected Patch, 

This initializes only the Patch parameters of the selected Patch 
shown in this Display. 

cr The default values of the parameters arc shown on page 87. 

This swaps all the Patch parameters of the selected Patch with those 
of the source Patch. 

[>] Commands can be executed by pushing ENTER. 

To return to the normal condition, push SHIFT. 



42 



PROCEDURE II 



11 PATCH PRM : NAME 



bafSFATCH^PHH'?*!?! 



^.a ; * : M »' ; ^.y. : '' |gBK i *=» plich nou 

12 seutz 16 envelope: 

tar tone hem it tone wof 

1.1 LOOP 18 



"--■;; .t -.d 7 . <■ iS- wy ' s-' :s£[ :■ -\-= *«:-&•>#* 




This is for naming the Patch currently called, or 
changing the name. Up to 12 letters can be used 
for a Patch name. 



To select a letter, use the Alpha Dial or Ten Key pad. Each time 
a Ten Key is pushed, a different letter is selected. You do not need 
to use ENTER. 

To move the cursor to the appropriate position, use A and ► . 



1 


-*A-*B-»C 


7 


S-»T->U- 


2 


-*D-E-*F 


8 


— V— W— X 


3 


— G — H-*l 


9 


-Y^l-/ 


4 


-*J-~K-*L 





-* + -* — »x 


5 


— m— N—0 


ENT 


Space 


6 


->P — Q — R 







43 



PROCEDURE I! 



Split Set 



1 2 SPLIT : INFO 



ti patch phm 



13 TOME 

14 LOOP 



PI Flute 1 



15 PITCH HOD 

16 ENVELOPE 

17 TONE HOP 
IS 



COMMAND- 



2nd. lone 

a l 

1 Flut FIute-B >3TO g~ft Fltxte-B 

2 Flu±e-C FIute-B Flute~C FIwte-B 

3 Steam-ll Steasu-B Steam-fl Sfceam-B 
4. Hecdi—fi Hecdi~~B Recdi— ft Hecdjc— B 
5 1 Becdr-C Becdc-D Hecdr-C Racdr-B 
S Uateki~ft Hateki-a Uatefci-A tlateki-a. 
7 Uateki-B Uateki-fa Flirte-fl Uateki~b 
B Ocar-ft Ocar-B Ocar-ft Ocac-B 



1st Tone 
1 

1 Flat' 



mmmummmrnm 



[3 [It ifc CS [fl h 



In this page, you can monitor the Tones assigned 
to a key by playing that key. 

Playing one key will move the cursor to the Tone 
Names which are assigned to the played key. 
When using a color Display, the cursor is yellow 
for the 1st Tone, and red for the 2nd Tone. 
(When the Normal or Unison Key Mode is selected, 
only the 1st Tone is indicated. 



12 SPLIT : SET 



li PflTCH PBM 



13 tome, enn 

14 LOOP 



Pi Flute 1 



1st Tone 
1 



15 PI1CM HOB 

16 ENVELOPE 

17 TONE MAP 
18 



COMMAND 



2nd. lone 11 



1 Flate-A Flute-B Flute-ft FUrte-H 

2 Flate-C FIute-B Flute-C FIute-B 

3 Steam-ft Steam-B Steam-ft Steam-H 

4 Hecdr-ft Hecdr-B Hecdr-ft Hecdr-B 

5 Recdr-C Recdr-B Recdr-C Recdr-B 

6 Uateki-fi Uateki-a Uateki-ft Uateki-a 

7 Uateki-B Uateki-h Flute-A Uateki-b 

8 Ocar-ft Ocar-B Ocar-ft Ocar-B 



In this page, you can assign any of the 32 Tones 
to a keyboard range. 



mwmmmmmm 



Step 1 



Select the 1st and the 2nd Tones to be assigned from the list. 



■ In the Normal or Unison Key Mode 

The 1st Tone assigned is played in the Key Mode currently 
selected. The 2nd Tone is irrelevant for the performance. 

■ In the V-SW, X-Fade or V-MIX Key Mode 

Both the 1st and the 2nd Tones assigned are played in the current 

Key Mode. 

Step 2 Assign the selected Tone to the keys on the keyboard by pushing 

the relevant keys. 



*When a key is pressed, the Tone is assigned, but the sound created 
is the previous Tone. Pushing the same key again wilt sound the new 
Tone just assigned. 



44 



PROCEDURE 



Repeat steps 1 and 2, to continue setting the split points (assigning 
other Tones to other ranges). 

Split Set can also be done with MIDI Key messages. In the same 
Display, send MIDI Key ON messages, and the Tone shown in the 
Display will be assigned to that Key number. 

In the lower part of the Display (keyboard indication). Split Points 
are shown as vertical lines. This, however, only applies to the Split 
Points of the 1st Tones. So, even if the 2nd Tone is assigned to 

a different key range, it will not show unless the 1st Tone is 
assigned to the same key range. 



COMMAND 



Push SHIFT and move the cursor to "COMMAND' 
command window opens. 



with ► , and a 



OCT SHIFT 



[-2, -1, 0, 1. 2] 

The S-50 can be played from CO to C9.(The highest pitch, however, 
is two octaves above the Original Key). When the keyboard is in 
the normal condition (without OCTAVE SHIFT), the pitch range of 
the keyboad is C2 to C7. Using the Octave Shift function, you can 
shift the keyboard up to ±2 octaves, and therefore can Split -Set in 
the entire range from CO to C9. The Display changes according to 
the Octave Shift you set. 

* After completing the Split Set process, return the Oct. Shift [11 
PATCH PRM] to the original value. 

■See page 42 for the details of other commands and how to 
execute them. 

To return to the normal Display, push SHIFT. 



45 



PROCEDURE li 



b. Setting Tone Parameters 



Calling up a different Tone 



Tone Parameters involve how the recorded Wave data is read and 
reconstructed. Wave data is not transformed by editing Tone 

Parameters, therefore the Tone Parameters may be edited as many 
times as you like without affecting the Wave data itself. 

Main Tone Parameter Setting 
1-3 - TONE PPM ■■■■ ^Page *47) 

Loop Setting 

14 LOOP (Page 48) 

Vibrato 

15 PITCH MOD (Page 57) 

Envelope 

16 ENVELOPE (Page 58) 

Parameter Setting with Tone Map 

17 TONE MAP (Page 63) 



In the Tone Parameter setting Display (except 18 TONE MAP), 
different Tones can be called up and edited. 

Step 1 Push SHIFT, and the cursor will move to the Tone Number on the 

Message Line. If the command is in red (color) or highlighted 
(monochrome), push A . 

Step 2 Select the Tone Number to be called with the Alpha Dial or Ten 

Key Pad, and press Enter. 

The Display of the selected Tone appears. 

Step 3 Push SHIFT to return to the norma! Display. 



46 



PROCEDURE !! 



Setting Main Tone Parameters 
13 TONE PRM : SET 



ix patch j? 
12 split 



^ |13;>IOKE r5'EBHv g>.. ; . 
11 Br.Sax-fi ft-8.8. 



. pitch rton 

lfi ENUEEOEE 
17 TONE MAP 
IS 



On the Message Line, the Tone Number. Tone 

Name, and Wave Data are shown. 



COnnflfuJ 



± Oris, Tone 
2 Oris. Key 
a Pitch FoUau 
4. Fine- Tune 
5" Efivel 



1 Orig.Tone (Original Tone) 



■ When a Sub Tone is called up. 

A Sub Tone does not sound unless Wave data is borrowed from an 
Original Tone. Here, you can select the Original Tone from which 
Wave data is borrowed. When an Original Tone is selected. Tone 
Parameters for looping are copied to the called Sub Tone. And the 
Wave data is read from that Original Tone by playing the keyboard. 
If a Sub Tone is selected and " " is shown, no sound is heard. 

■ When an Original Tone is called up. 

An Original Tone has its own Wave data. When an Original Tone 
is called up,"***" is shown and this cannot be changed. 

■ Creating a Sub Tone 

First you must locate an empty Tone location. To do this, press 
Patch to view Tone information (refer to page 30 for description of 
Tone list display.) 

Return to TONE PRM page by pressing Patch. 

Press Shift. 

Select location you wish to create a Sub Tone with Alpha Dial or 
10 Key. (When using 10 Key press Enter after selecting.) 

Press Shift to close command window. 

Select the original Tone from which you wish to borrow the wave 
data using the Alpha Dial or 10 Key pad. (When using the 10 Key 
press Enter). You cannot borrow wave data from an existing Sub 
Tone. You may now edit the Sub Tone as an original Tone. 



47 



PROCEDURE II 



2 Orig.Key (Original Key Number) 



[CO to C9] 



This changes the original key number of a sample. Playing the key 
selected here will make a sample play in its original pitch. Middle 
C is represented by C4, and a semi- tone by a #. This is a simple 

way to transpose a sample into another key. 

*The S— 50 can play up to two octaves higher than the pitch of the 
.,, .saniplad -.sound. .Any ,4>itcb.-thal -exceeds that, cannot be ..played. 



3 Pitch Follow 



4 Fine Tune 



5 Level 



[ON/OFF] 

When Pitch Follow is ON, different pitches are played by different 
keys. When OFF, the pitch you set with Original Key will sound 
whichever key is played. (When the Original Key is set to C5, the 
original pitch of the sampled sound is obtained.) 

[-50 to 50] 

This adjusts the pitch of the Tone subtly.! 50 is about half a semi 
—tone. 

[0 to 127] 

This adjusts the volume of each Tone. At 127, the amplitude of the 

sample is as it was recorded. 



COMMAND 



I SOURCE 



Push SHIFT and move the cursor to "COMMAND" with ► to open 
a command window. 

[P1 to P8] 
This assigns the source Tone for COPY or SWAP. 



COPY ALL> 



This copies all the Tone parameters of the Source Tone to the Tone 
currently selected. 



I COPY PAGE > 



This copies the Tone parameters of the Source Tone which are 
shown in this Display to the Tone currently selected. 



INT ALL > 



This initializes all the Tone parameters of the selected Tone to a 

predetermined default value. (See page 87) 



MINT PAGE > 



This initializes only the Tone parameters of the selected Tone which 
are shown on this page to a predetermined default value. (See page 
87) 



SWAP ALL > 



This swaps all the Tone parameters of the selected Tone with those 
of the source Tone. 

The commands with ">" can be executed by pushing ENTER. 
To return to a normal Display, push SHIFT. 



48 



PROCEDURE II 



13 TONE PRM : NAME 



3 ix patch pan is pitch nou 

a iz split ifi envelope: 

17 tone: hap 

■i 14 WJOP 18 




In this Display, the Tone Name of the Tone 
currently called up can be changed. Up to 8 

letters can be used for a Tone Name. 



To select a letter, use the Alpha Dial or Ten Key pad. Each time 
a Ten Key is pushed, a different letter is selected. You do not need 
to use ENTER. 

To move the cursor to the appropriate position, use *4 and ► . 



1 


— A— B-C 


7 


S — t-*U-> 


2 


^D^E-*F 


8 


-*v-*w-x 


3 


-*G-*H — l 


9 


->Y-*Z-/ 


4 


— J-K-L 





- + -+ X 


5 


-*M^N^0 


EN7 


Space 


6 


— P-Q^R 







49 



PROCEDURE ti 



Loop Set 



14 LOOP 



"i*""PfiTCH PHM 

12 split 

13 TONE PRM 



is pi.TCH nou 
16 ENVELOPE 
IT TONE MAP 
18 



13 Steam-A ft-8.8 COOMAHD 



1 Loop Mode 

2 Star* 

3 loop 

4 End. 

5" Loop Tuns? 



889000 

009881 L.Leng 808905 
013706 U.Leny 024576 
8 L.Ertit Paint 




iShot (One Shot) is playing a sample only once : 
the sound disappears once the data is played. 
Reverse is playing a sample once in the reverse 
direction. If you wish the sample to be played 
longer than just once, Looping lets the wave data, 
or a part of the wave data, play as long as you 
push a key. One Shot may be good for percussive 
sounds, and Looping is ideal for flute or violin. 



The sampled wave can have a Start Point, End Point and Loop 
Point. The Start Point is where the S-50 starts playing the sample, 
and End Point is where playback ends. When you play a key, the 
sample normally plays until it reaches the End point, then it goes 
back to the Loop point, and re -plays through the loop. The Looping 
process continues for as long as the key is pressed. 



Sampline 




START POINT 



Playing Wave 



LOOP POINT 



In this menu, you can set the Start Point, End Point, Loop Point, and 
other parameters for looping. After opening a command window, 
Auto Loop is available enabling the S-50 to detect the Loop Point 
itself. 



50 



PROCEDURE 



1) Setting Loop Mode 
1 Loop Mode 



Select one of the four Loop modes :F WD (For ward), ALT (Alternate), 
1SHOT (One Shot) and Revers. 

[FWD] (Forward) Ten Key o 

When you play a key, the sample plays until it reaches the End 

point, then repeats playing from the Loop point to the End point. 

[ALT] (Alternating) Ten Key t 

The sample plays unitl it reaches the End point, and repeats playing 

forward and backward between the. Loop point and the End point 

[1Sh0t] (One Shot) Ten Key 2 

The sample is played from the Start point to the End point once. 

[Reverse] Ten Key 3 

The sample plays in a reverse direction (from the End point to the 

Start point) only once. 




END POINT 
STAHT POINT LOOP POtNT 



KEY ON 



KEY OFF 




ALT 






51 



PROCEDURE \\ 



2) Setting Points 



Three pages are provided for selling Ihc Slarl Point. Loop Point and 
the End Point. As you piay the keyboard, set the points using these 
three pages. 

TYPE1 

The entire shape of the waveform can be seen in this page. Whether 
the wave is long or short, the entire wave is shown over the 
Display. The Start point, Loop point and the End point arc shown 
as small marks on the belt above the wave. Here, you may set the 

points roughly. 



START 
POSNT 



LOOP 
POINT 



END 
POINT 




TYPE2 

In this page, you can accurately make a loop. You can make a 

stable sustained loop more successfully if using similar waves. 

When the Loop Mode FWD (Forward) is selected, the left side of 
the center line shows the waveform up to the End point, and the 
right side shows the waveform from the Loop point. By connecting 

waves precisely on this line, a natural sustain sound can be obtained. 




END POINT- 



y\ 



•LOOP POINT 



52 



PROCEDURE 



In the Loop Mode ALT (Alternating), the center Jine becomes the 
Loop point when the cursor is put on the Loop position. Therefore, 
you can sec the waveform turned back at the Loop point. When the 
cursor is on the End position, the wave form is turned back at the 
End point. In this mode, though, looping is normally quite difficult. 




e.g) Wavefrom turned back at the End Point 



TYPE3 



In this page, each point can be finely seen. 

When the cursor is positioned at the Start, the center line becomes 
the Start point. At Loop, the same line is the Loop point : at End, 
it is the End point. 




e.g) Setting START POINT 



The length of the Loop between the 
Loop Point and End Point is shown 
as an address. \. 

The length of the entire Wave is 

shown as an address. 



114 

L.Lexigr 08S98S 
U.LeYig 024576 
L.Edit: Point 



-This shows how | -4 \ and [ ► j buttons 
work. When P.SEARCH is set to ON in the 
command window, "P.SEARCH" is shown, 
and when OFF, "114" is shown. 

- This shows how to edit a loop. 

When Loop Edit is set to LP in the 
command window, "Point " is shown, 
and when it is set to LL, "Length" 
is shown. 



53 



PROCEDURE li 



Address 



The points are represented with the positions in memory. This is 
called Address. The beginning of the wave data is address 0. The 
last point of a wave with the shortest sampling time (0.4 seconds 
at 30kHz sampling) is 012288 address. The last point of wave 
data that uses an entire Wave Bank is 221184 address. 



012286 



221184 



Entering Address 



The address can be set with the Ten Key pad or the Alpha Dial 
or ► and -^ buttons. 

Ten Key Pad — Address can be entered with a number straight 
away. 

Alpha Dial This fineiy increases or decreases the set address. 



► and -4 When P.SEARCH is turned to ON with COMMAND, 

the S — 50 searches the peaks of waves, advancing 
from one peak to another. When OFF, it advances 
in 114 address steps. 



#The S— SO allows you to set the Start point first, then the Loop point, 
and finally the End point. You cannot set the points in a different 
order. 

When entering address with the Ten Key pad, be sure that no sound 
is being played. If a point is set while KEY ON, KEY OFF may not 

be completed. 



54 



PROCEDURE 11 



COMMAND 



I ZOOM T 



I ZOOM L 



Push SHIFT, then move the cursor to "COMMAND" with ► to open 
a command window. 



Xhis -can enlarge or diminish the wave in .{TYPE2] and .[TYPE3J 
pages in the direction of Time. 



This can enlarge or diminish the wave in [TYPE2] and [TYPE3] 
pages in the direction of Level. 



TIME 



S 




LEVEL (^j 





LOOP EDIT 



IP.SEARCH (Peak Search) 



This selects one of the two methods of loop setting. 

[LP] (Editing with Loop point) Ten Key o 

The Loop point and the End point can be separately set. 

[LL] (Editing with Loop length) Ten Key 1 

Moving the End point changes the Loop point together, but the 
Loop length is not affected. This is useful to change the loop in 
the FWD Loop Mode. 



[ON] Ten Key 1 

When setting each point, each time ► or -4 button is pushed, the 
S— 50 searches the peaks of waves, advancing from one peak to 
another. This is useful for setting the Loop point or End paint. 

point. 

[OFF] Ten Key 

When setting each point, each time ► or 4 button is pushed, the 

S — 50 advances in 114 address steps. 



55 



PROCEDURE i! 



A.LOOP L E > 

A.LOOP L E > 



It is possible to make the S-50's interna! computer find out the 
Loop point and the End point of FWD looping. This is called Auto 

Looping. 

The Auto Loop function can find a new Loop point, and the End 
point between the Loop point and the End point currently set. 

[L-E] 

This mode searches through the loop from the Loop point to the 
End point. 

[L-E] 

This mode searches through the loop from the End point to the 

Loop point. 

The Auto Loop may not be able to find a loop when the range of 
the loop you set is too short or the waveform is not consistent. 
Set the loop fairly long and try with different lengths. 

Aulo Loop is "excecuted by pushing ENTER. 

Auto Loop only searches FWD loops, and therefore, executing the 

Auto Loop automatically turns the Loop Mode to FWD. 

To return to a normal Display, push SHIFT. 



3) Setting Loop Tune 

5 Loop Tune [-50 to 50] 

Before and after entering a loop, the pitch may differ. If so, adjust 
the pitch of the loop here. 



56 



PROCEDURE I! 



Vibrato 



15 PITCH MOD 



edit . xx. prich phm 

12 SPLIT 

13 tone: phh 

14 LOOP 



2S •H#nilr-JD r n( , 5B'ra;8^'-EgS:C0nnfiMfl' 



SSP.ETCttfTIOI* * 



16. ENVELOPE. 
17 TONE NAP 
18 



When wave data is being read (played back), 
vibrato effects can be added by using the LFO 

Modulation. 



i. LFO Rate 
Z LEO Depth 
3 LEO Delay 



1 LFO Rate 



[0 to 127] 



This sets the speed of the LFO modulation. Higher values increase 
the speed. 



3 LFO Depth 



[0 to 127] 



This sets the depth of the LFO modulation. Higher values deepen 
the effect. 



4 LFO Delay 



[0 to 127] 



COMMAND 



This determines the time spent before the LFO modulation begins. 
At higher values, the effect appears later. 



A Command can be called and executed. The Commands of the 
S-50 and how to execute them are explained on page 48. 



57 



PROCEDURE fl 



Envelope 



16 ENVELOPE : SET 



15 PITCtt HOD 



> -J ENVELOPES 



17 TOME MM? 
18 



E»iX .'- 11 PfllCH PBH 
12 SPMr 

• 13 TONE PRM 
■■■'-.'■■; 14 LOOP 



25 Eeodr-D #-0.8 ■■> COMMUNE 



Point 

Sate 120 13K 80 73 82 88 79 

Lewel 127 80~ 60 30 60 50 70 




By setting the -Break points of an envelope curve, 
wave data can be read (played back) at different 
volumes. For instance, the attack of the sound can 
be purposely delayed, or decaying effect can be 
added to & . loop. However., the volume of the 
original sound is the maximum, therefore it is not 
possible to make the attack quicker than the 
sampled waveform, or increase the volume, or 
sustain a one-shot sound. 

In this page, you can open a command window 
before setting the Break points, for copying or 
swapping parameters, or for initializing. 



Paint 1 




L- LEVEL 
R-.RATE 



Paint 5 



Sustain Point 




End Point 



Point 8 



Up to eight Break points can be set in an envelope. The position 
of each Break point is determined by the Level and Rate. 



Rate 



[1 to 127] 



This sets the time interval between two adjacent Break points. 
Higher values make steeper curves. 



Level 



[0 to 127] 



This sets the volume at the Break point. 



58 



PROCEDURE II 



SUS (Sustain Point) 



END (End Point) 



[1 to 7] 

This sets the Break point of the level to be sustained until the key 
is released. 

#lt is not possible to set the Sustain point after the End point. 

f-2- to 8] 

This sets the Break point of the decaying sound. The End point is 
regarded as Level = 0, no matter what level is actually set. 

*!t is not possible to set the End point before the Sustain point. 

The rate before the Sustain point and the End point actually draws 
an exponential curve. 





End Point 



COMMAND 



IZOOM T 



Push SHIFT and move the cursor to COMMAND to open a 
command window. 

The envelope curve shown in the Display can be enlarged or 
diminished along in the Time coordinate. 

■ See page 48 for the other commands and how to execute them. 

To return to a normal Display, push SHIFT. 



59 



PROCEDURE 



I Setting Break Points with the Digitizer Tablet DT-100 

Using the stylus pen, you can set the Break points directly. 
Preparation 1 Set the parameter [Df-tOO] to ON in the AUX mode. 
Preparation 2 Set the Sustain point and End point. 

Try drawing with the sLylus pen on the pad sheet, and see how the 
cursor moves. 




Cursor 



s * e P 1 Move the cursor to the Break point which is to be rewritten, and 

push the switch on the stylus pen. 

The Break point changes to red. 

Step 2 Move the cursor to the new Break point, and push the switch on 

the stylus pen. 

*The new Break point cannot be positioned to tha left of an existing 
break point, if the new Break point is positioned beyond the Break 
points previously set, they will be moved further to the right. 

When you push the switch on the stylus pen to set a new Break 
point, the set point may be slightly different to the cursor position. 
This happens because the resolution is 1/128 for Level, .and 1/127 
for Rate. 



60 



1 6 ENVELOPE : CTRL 



PROCEDURE li 



EBII 


11. PflTCH 
12 SPLIT 


PRM 


IS PIT€H non 




' 


13 TONE 


PRM 


17 tONE HAP 






M LOOP 




in 


J 



25 B«t^U^.^D^H5J*BTl»i 1 B^-'i'-?SCORnBMI^i«vi 



In this page, the parameters for dynamics can be 

set. 



1_ Level. Curve? 

2 Key-Rate 

3 Wei-Hate 



□ h a h a 



1 Level Curve 



[0 to 5] 



This curve determines the dynamics caused by the style, of playing 
the keyboard. • 



Leve! Curve 



Level Curve 



Level Curve 1 




Level Curve 2 




Level Curve 3 




Level Curve 4 



Level Curve 5 



2 Key- Rate 



[0 to 127] 

This can change the curve of the envelope depending on which key 
is played. Higher values make a mild curve in a lower key. 



■»» 





61 



PROCEDURE 



3 Vel-Rate (Velocity Rate) 



[0 to 127] 



This can change Rl of the. envelope curve. At higher value, the 
curve becomes steeper by playing harder, and milder by playing 
softer. 



Hard Playing " •Soft'Ttoyihg 




(Level Curve 0) 



COMMAND 



A command can be called and executed. See page 48 for the details 
of commands, and how to execute them. 



62 



PROCEDURE II 



Parameter Setting with the Tone Map 



17 TONE MAP 



±t PAXCH l?Rtt 

it sz spi.tr 

?7:1 13 TONE 2RH 
" i 14 LOOP 



15 fitctt nan 

IS EWVEtOPE 



,7 TONE - n«P 







A 


± ;■ -; - 


D 2 


C 5" 


C S 


z aaz. 


D 3 


C 5 


C 5T 


3 F 3 


fttra 


C 5 


c s 


4 C 4 


Dtt4 


C !> 


c s 


S - C 3 


FH3 


C 5 


c s 


ff. fl»3 


EH4. 


C 5 


c s 


r rtftd 


DH5 


C S 


C 5 


b: fins 


C & 


C5 


C 5 




irmnHfrHtMMn'iiM. 


U ta 


u 


^ Cs 


B Cl 



In this menu, you can call one of several Tone 
Parameters, and change the previous values of all 
the 32 Tones separately. For instance, if you 
change the value of the "Level" parameter, the 
level .values /or ail the 32 Tones will be changed 
to the values you like. 



1 


Org. 


Key 


2 


Pitch Follow 


3 


Fine 


Tune 


4 


Level 


5 


LFO 


Rate 


6 


LFO Depth 


7 


LFO Delay 


8 


Env 


Sustain 


9 


Env 


End 


10 


Env 


Rate 1 


11 


Env 


Level 1 


12 


Env 


Rate 2 


13 


Env 


Level 2 


14 


Env 


Rate 3 


15 


Env 


Level 3 


16 


Env 


Rate 4 


17 


Env 


Level 4 


18 


Env 


Rate 5 


19 


Env 


Level 5 


20 


Env 


Rate 6 


21 


Env 


Level 6 


22 


Env 


Rate 7 


23 


Env 


Level 7 


24 


Env 


Rate 8 


25 


Env 


Level 8 


26 


Level Curve 


27 


Key 


-Rate 


28 


Vel- 


-Rate 



In the [PATCH] page, you can actually play the Patch currently 
called and edit it, 

When a key is played, the cursor indicates the Tone (s) assigned 
to that key. With a color Display, the cursor is yellow for the 1st 
Tone, and red for the 2nd Tone. (If the Key Mode is Normal or 
Unison, only the 1st Tone is indicated.) 

In the [TONE] page, you can actually play the Tone which is now 

indicated, and edit it. 

The Parameter number and the Parameter name is shown on the 
Message Line, and the parameter values of all the 32 Tones are 

shown. 



Step 1 Push SHIFT, and the cursor moves to the Parameter number. 

Step 2 Select the parameter to be edited by using the Alpha Dial or the 

Ten Key Pad. 

Step 3 Push SHIFT to return to the normal Display, then move the cursor 

to the Tone to be edited and continue editing. 



63 



PROCEDURE II 



c. Editing Wave Data 



Wave data editing changes the shape of the sample. This process is 
entirely in the digital domain. 



Delete 

21 DELETE (Page 65) 

Truncate 

22 TRUNCATE (Page 66) 

Copy 

23 COPY (Page 70) 

Mix 

24 MIX (Page 72) 

Combine (Connect) 

25 COMBINE (Page 74) 

Digital Filter 

26 D.FILTER (Page 76) 

Wave Draw 

27 WAVE DRAW (Page 78) 

Waveform Monitor 

28 DSP.WAVE (Page 81) 



64- 



PROCEDURE li 



Delete 



21 DELETE 



This menu allows you to delete a Tone that is not 
needed. 



22 TRUNCATE 

23 COP« 

24 HIX 



25 CQOBINE 
2£ Il.FIt.TEH 

27 WAVE DHflU 

28 BSP.UAVE 



DELETE 





. £.'.?'&■?£ ..^COMMAND r'< : ' 


Source 




t 


2 3 4. 


i. FIute-A 


Fltite-B Flute-ft FluteHB 


2L Flute-C 


Flute-D Flute-C FIute-D 


a Steam-A 


Steam-B Steant-ft Stennv-B 


4. Recrti— ft 


RGcrtf-B Recdr-A Recdr-tt 


ST Hecrti— C 


Recrti—D Reedr-C Heedi^D 


6 Uateki-A 


Uateki.-a Uateki~A Uateki-a. 


7 Uateki-B 


Uateki-h Uateki-B Uatoki-b 


a ocAt*- « 


Ocar-B Gear- A Ocac—B 


Remaining Time A-8.B I 




B-e.e 




Parameters 



Initialize 



■ Deleting an Original Tone 

Deleting an Original Tone naturally erases the Wave data included 
in that Tone. The space created is added to the Remaining Time, 
Also, the Tone Parameters are initialized. By deleting an Original 
Tone, any Sub Tone that borrows Wave data from it will also be 

deleted. In other words, the space is regarded as being an empty 
Sub Tone. 

■ Deleting a Sub Tone 

Deleting a Sub Tone will initialize the Tone Parameters. This, 
therefore, is regarded as an empty Sub Tone, one that does not 
have an Original Tone. Deleting a Sub Tone, however, does not 
erase the Original Tone data used by the Sub Tone. 

Select the Tone to be deleted, then open a command window and 
execute. 



COMMAND 



EXECUTE > 



Push SHIFT to open a command window. 
Push ENTER to execute. 



65 



PROCEDURE II 



Truncate 



22 TRUNCATE : SET 



IT HX DE1£IE 



22 %Zfiur(C RU@ 



23 COP* 

24 tllX 



z* combine: 

26 H.FILTEB 
2V UftUE IlRflU 
28 DSP-UfWE 



Source 

i. 

t Flute-fl 

2 Flute-C 

3 Steati-fl 
<t Recdr-a 
5" Reedr-C 
& Uatpki-A 
T Uatolcj-B 
S Ocar-fl 




Flute- 3 Flute-I* Flute-H 
Flute-D Flttte-C FHtte-B 
Stean»--B StEram-tl Steaw-B 
Recti*.- -B Recdr—fl Recdr~B 
Recti r-D Recdr-C Reeds— B 
Uatcki-a Uateki-ft Uateki-a 
U.tfceJ<.-h Uatcfci-B Uatefci-b 
OcAr-B Ocar- fl Ocar— F 


Rnrnainini Time ft-O.O 
B~0.» 



This menu allows you to' remove the unneeded 
portions of a Wave, and transfer some portions 
elsewhere. If a space is made at the end of the 
Wave data, and it is larger than the minimum 
sampling time, that .space will be erased and added 
to the remaining time. 



When Truncate is executed, any Sub Tone which used that 
particular Wave is deleted. 

TRUNCATE 



Stan Point End Point 



SHIFT = 




Parameter 



• 






• 


SHIFT 


W 








f 




i 







Select the Original Tone to be truncated, and push +PAGE to go 
to the [SET] page. 



66 



22 TRUNCATE : SET 



PROCEDURE li 



D-19 



ZX BELEIE. 



23 COPY. 

Z4 mx 



2S COMBINE 
2S D-FIE.TEH 
27" UAVE. BHflU 
2S DSF.UAUE 





.v b -. "?..-. •. : COtWflNQ . ■ ■ 




S=flrvSax-fl 

1 Start 

2 En* 623109-. 

3 Shift G82964. 








+m*— 









1) Setting Points 



2) SHIFT 



First, set the needed portions of the Wave with the Start and the 
End points. You can actually listen to the sound while setting two 
points. 

The addresses of the Start and the End points set here are identical 
to those set-with [14 LOOP]. This means that changing addresses 
here will automatically change those set in the Loop Set menu. 
If you wish to enlarge a particular portion of the Wave, use the 
three pages of [14 LOOP] to set the addresses. 



The Wave data between the Start and the End points can be shifted 
forward or backward. Set the address to which the current Start 
point is to be shifted. When address is set, the Start point win 
be shifted to the very begining of the memory area assigned to that 
data. 



COMMAND 



: EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER to execute. 



67 



PROCEDURE 11 



Making a new Original Tone 



'Tone List Display 



Using the following wave editing functions, you can make a 
completely new Wave. 

23 COPY (Page 70) 

24 MJX (Page 72) 

25 COMBINE (Page 74) 

26 D.FILTER (Page 76) 

[SEL], for Tone selection, is provided in all these menus. 

• Source 

This selects the source Tone (Original Tone) which is to be edited. 
A Sub Tone cannot be selected (" — " appears). 

• Destination 

This is the location (the number of an Original Tone) where the 
edited Wave data is to be written. Any of the 32 Tone numbers, 
except for the one selected for the source Tone, can be selected. 
When an Original Tone is selected as a destination Tone, the 
previous Wave data is replaced by the new Wave data. Also, any 
Sub Tone that uses the previous Wave is automatically deleted, 
becoming an empty Sub Tone. If a Sub Tone is selected as a 
destination, the edited Wave is written into it, and it therefore 
becomes an Original Tone. 

#Note that the Tone selected es a source cannot be used as a 
destination. 



The SEL Display shows Original Tones in yellow, and Sub Tones in 
white. 

Also, pushing T button will display the- contents of the Wave data 
(how much space is used by each Tone). 



68 



PROCEDURE 











A-0. 8 


Display of an Original Tone at 30kHz Sampling. 










A-0. 8X2 


Display of an Original Tone at 15kHz Sampling. 




A letter represents a 
A number represents 


Wave Bank. 

the sampling time (sec). 




•* * 11 ■*"* 


Display of a Sub Tone. 










# * # # 


Display of an empty (unused) Sub Tone. 




The number in the Display represents an Original Tone from which 
the sub Tone borrows Wave data. [ — 3 represents a deleted Tone 
or the Sub Tone that does not borrow Wave data from an Original 

Tone. 



• Remaining Time Display 



Pushing A will return to the normal Display. 



The remaining time (sec) of each Wave Bank is shown at 30kHz 
sampling. The remaining time differs depending on the Tone" 
selected in [SEL] page, or the Wave Bank selected in the [SET] 
page. 

■Writing edited Wave data to an Original Tone in the same Wave 
Bank 

The tola! space the destination Tone can use is ; the space the 
previous Wave Data occupied + the remaining time of that Wave 
Bank. 

■Writing edited Wave data to. an Original Tone in a different Wave 

Bank .-■ - ■ • 

■Writing edited Wave data to a Sub Tone 

The lotai space the destination Tone can use is : the remaining lime 
or that Wave Bank. 

*When there is not sufficient space, the Wave data will be incomplete. 

If you wish to increase the space for writing a new data (edited 

data), delete a Tone with [21 DELETE], or truncate unnecessary 
portions of the wave by using [22 TRUNCATE]. 



S9 



PROCEDURE 



COPY 



23 COPY : SEL 



23 COPY : SET 



In this menu, you can copy the entire Wave data and the Tone 
Parameters, at the same time. Also, Reverse Copy makes a reversed 
copy of the source Wave. 

Read "Making a new Original Tone" on page 68, then set the source 
Tone and the destination Tone. 

When you have set the source and the destination Tones, advance 
to the [SET] page by pushing + PAGE, 



This selects Normal or Reverse Copy Mode. 



COPY 



Source 



Destination 

Normal 



ZL DFLF.TE. 25 COMB IN 
22. THUNCflTE 26 D, FILTER 

3 27 UfiUE DHflU 
2A tttX 29 DSP.UrtVE 







S=Fltrte-A D=FIute~fi 

i. Mode 

Z Have Bank 

















~w~ 




At bottom of the Display, the Wave data of the source Tone is 
shown. 



70 



PROCEDURE 



1. Mode 



2 Wave Bank 



Normal or Reverse Copy Mode can be selected. 

[NORMAL] Ten Key 

Art exact copy of the Wave data can be made. 

[REVERSE] Ten Key I 

An reversed copy of the Wave data can be made. 

Tone Parameters are copied as they arc, so the parameters related 
to looping should be re-set later with [14 LOOP]. 



This selects the Wave Bank. A or B .where the new wave data is 
to be written. 

When you have set alt the necessary parameters for copying, open 

the command window and execute. 



COMMAND 



■ EXECUTE > 



Push SHIFT to open the command window. 
Push ENTER to execute. 

When copying is completed, the copied Wave data is shown in the 

Display. 



71 



PROCEDURE ii 



MIX 



24 MIX : SEL 



24 MIX : SET 



This function mixes two Waves to make a new Original Tone. 

The mixture of Source 1 and Source 2, is written to the destination 
Tone. The length of the destination Wave is the same as Source 1, 
and all -the Tone -.Parameters- are -initialized. (See -page £6) 

*Select different Tone Numbers or Source 1 and Source 2. 

#The two waves are always mixed from address zero, so you may need 
to truncate the waves to match the wave heads. 

Piease read "Making a new Original Tone" on page 68, then select 
Source 1, Source 2 and the Destination Tone. 

When you have selected all the Tones, push +PAGE, to go to the 
[SET] page. 



MIX 



Source 1 



Destination 



ZX. IlKluKIE 

22 TRUNCATE 

23 COPV 



25 combine; 

26 D- FILTER 

zr uave nsfiw 

23 BSP.UAVE 



COnHHrUJ 



Sl~Flttte-ft S2=FIute~ft H=Flirte-fl 

1 SI Level 100 

a S2 Level 

3 Uave Bank ft 





72 



PROCEDURE fl 



In this menu, you can set the parameters for mixing Tones. 

SI respresents Source 1, and S2 Source 2. Moving the cursor to SI 
causes the bottom of the Display to show the Wave data of Source 
1. and the Source 1 Tone wiii sound by playing the keyboard. 
Moving the cursor to S2 causes the Display to show the Wave data 
of Source 2, and the Source 2 Tone can be played from the 
keyboard. 



1 $1 Level 



[0 to 127] 



2 S2 Level 



This sets the level of the Source 1 Tone in MIX. At 127, the 
waveform is exactly the same as the sample. While changing the 
level, you cannot hear the change, 

[0 to 127] 



3 Wave Bank 



This sets the level of the Source 2 Tone in MIX. At 127, the 
waveform is exactly the same as the sample. While changing the 
level, you cannot hear the change. 

*The sound may be distorted if both levels are set high. 



This selects the Bank, A or B, where the mixed Wave data is to be 
written. The MIX Command is proceeded with computer calculation, 
and therefore, the sound change cannot be heard during the value 
setting. If the created sound is not what you desire, repeat the 
whole procedure. 

When all the necessary settings are done, open the command window 
and execute. 



COMMAND 



EXECUTE > 



Push SHIFT to open the command window. 
Push ENTER to execute. 



When MIX has been executed, the mixed Wave data is shown in the 
Display. 



73 



PROCEDURE I! 



COMBINE 



25 COMBINE : SEL 



25 COMBINE : SET 



This function allows you to combine two Waves. 

COMBINE is the joining of two waves, with the unnecessary portions 
discarded. The End point of Source 1 is directly joined to the Start 
point of Source 2. Here, the Tone Parameters are initialized. 

* Select different Tone Numbers for Source 1 and Source 2. 

Read "Making a new Original Tone" on page 68, and select the 
Source 1, Source 2 and the Destination Tone. 

When you have selected the Tones, go to the [SET] page by 

pushing +PAGE. 



COMBINE 



Source 1 



Destination 



E0IT 21 UEXEXE 

22 TRUNCATE 

23 COPY 
2A MIX 



26 0. FILTER 

27 UflUE DRAW 
2B DSP.UAUE 



saaBSCOfflllrUJJaKaa 



Sl=ilr. Srtx-ft S2.-Bv.Si\K~(t D=Br.Sax-fl 



1 SI Start 

2 Si End. 

3 S2 Start 

4 S2 End 

5" Uawe Bank 



000000 

007866 

ft 





Source 2 





/ 


-AAa/^* 


/ 


jyyw 









74 



PROCEDURE II 



1) Setting the Start and End Points 



2) Selecting a Wave Bank 
5 Wave Bank 



SI rcsprcscnts Source 1, and S2 Source 2. Moving the cursor to SI 
causes the bottom of the Diplay to show the Wave data of the 
Source l , and the Source 1 Tone wili sound by playing the 
Keyboard. Moving the cursor to S2 causes the Display to show the 
Wave data of Source 2, and the source 2 Tone can be played by 
the keyboard. 

The addresses of the Start and End points set here arc identical to 
those set with [14 LOOP]. This means that changing addresses here 
will automatically change those set in Loop Set. If you wish to 

enlarge a particular portion of the wave, use the three pages of [14 
LOOP] and set the addresses. 



This selects the Wave Bank, A or B, where the combined data is to 
be written. 



COMMAND 



EXECUTE > 



Push SHIFT to open the command window. 
Push ENTER to execute. 



When COMBINE has been executed, the combined Wave data is 
shown in the Display. 



75 



PROCEDURE 



DIGITAL FILTER 



26 D.FILTER : SEL 



26 D.FILTER • SET 



With this function, the Wave data is processed by the Digital Filter. 

*Tone Parameters writ be copied from the Source Tone to Destination, 

Please read "Making a new Original Tone" on page 68, then select 
the Source and Destination Tones.. 

When you have selected the Tones, push +PAGE, to go to the 
[SET] page. 



In this menu, you can set the parameters for the DIGITAL FILTER. 



EDIT ZX BELEIE 

22- THUNCATE 
23 COPV 
24. MIX 



25 COMBINE 



*;Dj-FIL7jQh 



2? UME DHflU 
28 DSP. WAVE 



COnnflnD 



S=r»RB m-F-H B=Bcass-L 

1 rfade- 

2 Frequency i.r 
3- Resonance i 
A Leuel Adjust 127 
J£ Uaut? Bank r 



W 



Resonance 
■ Resonance ON 



Level 
LP 



Cutoff Frequency Fre " uene v Cu , off T Fr 



1 Mode 



You can select one of the two filters; -12dB/Octave Lovvpass Filter 
or Highpass Filter, where cutoff frequency and resonance can be set. 
By executing D. Filter twice, -24dB/ Octave, and three times, 
~36dBm/Octave, filtering effects can be obtained. 

[LPF] (LOW "paSS Filter) Ten Key o 

This filter passes lower frequencies and cuts higher frequencies. 

[HPF] (High -pass Filter) Ten Key 1 

This filter passes higher frequencies and cuts lower frequencies. 



76 



PROCEDURE 



2 Frequency (Cutoff Frequency) 



[0.1 to 10.0] 



3 Resonance 



This sets the cutoff frequency from 0.1 kHz to 10.0kHz. Ten Key 1 
= 0.1 kHz, Ten Key 10=1.0kHz and 100=1 0.0 kHz. 

[0 to 127] 

At higher values, the harmonic content at the set cutoff frequency 
is emphasized. 



4 Level Adjust 



(0 to 127] 

At 127, the level of the original Wave data is sent to the filler. 
If the sound is distorted with a high Resonance setting, adjust the 
level here. 



5 Wave Bank 



COMMAND 



This selects the Wave Bank, A or B, where the filtered Wave data 
is to be written. 

* Digital filtering is processing the wave by computer, and therefore, the 
filtered wave data cannot be heard before executed. So, you may have 
to repeat the filtering process to obtain the optimum result. 

When all the necessary settings for filtering are made, open the 
command window and execute. 



■ EXECUTE > 



Push SHIFT to open the command window. 
Push ENTER to execute. 



When a DIGITAL FILTER has been executed, the filtered wave data 
is shown in the Display. 



*When the Level Adjust is set to around 127, the sound may be 
distorted. If so, lower the level, and repeat. 



77 



PROCEDURE 



Drawing Waveform 



27 WAVE DRAW : SEL 



27 WAVE DRAW : SET 



With this function, you can draw a waveform using the optional 
Digitizer Tablet DT-100. 

First of all, set the [DT-100] parameter to ON in the AUX mode, 
.This -page.-allows .you-.to .select .ihe.. Original JTone. J.o .i>e ..edited. . You 
cannot select a Sub Tone C " appears in the Display). 

When you have selected the Tone, push + PAGE to go to the [SET] 
page. 



ZX DELETE. 
22. THUNCnTE 

23 CQPV 

24 MIX 



-COMMAND 



at* c 

26 D.FH.TEK 



28 DSP. U AVE 



i. Window fidrs 

2 Cursor flttrs 

3 Cursor Data 


362230 U.Lon-j 024576 
0O25BS 
Q192 


i 

u 

1 

1 




"-- 


' ""\ ■__,-.--' 













Now, you can enter Wave data by actually 
drawing a waveform using the DT— 100. 

Each half of the wave, the left and the right, uses 

114 addresses. The entire waveform shown uses 
228 addresses. 

Draw__a waveform on the pad sheet, using the 
stylus pen, and see how the cursor moves in the 
Display. 



1) Selecting the place (address) of the Wave data to be edited 

Normally, you want to edit a part of the Wave data. The position 
you want can be assigned with the digitizer tablet or by using the 
panel switches and the Alpha Dial on the S-50. The blue belt 
shown above the wave indication represents the whole length of the 
Wave data. The small white square on the blue belt represents the 
position (= Window Address) of the Wave data which you can edit. 
The wave data at the Window Address is shown under the blue belt 
using as much as 228 addresses. 



Start Point Point of Window Address in Wave data 



y- 




t 

Window Address 



78 



PROCEDURE II 



I Assigning a Window Address using the Digitizer Tablet 

Step 1 Move the cursor (red triangle) onto the blue belt, and the cursor 

becomes a white square. 

Step 2 Move the white square cursor to the position (Window Address) 

you want, and push the switch on the stylus pen. . 

Now, the wave data at the assigned position ("Window Address) 
is shown. 

Step 3 Move the cursor from the blue belt down to the wave section. 

Step 4 Move the cursor (now a red triangle) outside the right or left end 

of the wave indication, and the cursor becomes an arrow which will 
scroll the wave 114 steps to the right or left just by pushing the 
switch. 



[Assigning a Window Address on the S-50's panel 



Step 1 



Step 2 



Move the cursor to the Window Address parameter in the Display, 
using the Cursor Buttons. 

Push ► and -4 , and the wave data will be scrolled right or left in 
114 address steps. The Alpha Dial, or the Ten Keys, can scroll the 
wave in one address step. 



2) Drawing a Waveform 









^ 










'. 


'\ 




. ■„" "v" » . 












"-* 


-. 


.-->- 




^\j v 


'. 


— 1 






" V -V 


Cursor 






v \* 





Step 1 Move the cursor to where you wish to draw the waveform, and 

push the switch on the stylus pen. 

Step 2 While holding the switch down, draw a wave. 

The wave you have drawn is shown in red. 

Step 3 Release the switch, then take the stylus pen away from the pad 

sheet. 



79 



PROCEDURE II 



ESMMB 



Push SHIFT to- open the command, window. 



■ WINDOW LOOP 



[ON, OFF] 

The 228 addresses (accessible by Window Address) are actually 
...such ...short .sQunds...that-ihey:_xannot be..monitor.ed,.bui..by .looping 
them they can then be monitored. 



W.LOOP ON always sets Start point = address 0, Loop Point = 
Window address (the vertical line at the left end) and End point 
— Window address plus 228 (the vertical line at the right end). 
With KEY ON message, the wave data is read from address 0, and 
the loop from the Window address to that plus 288 is repeated. 

When ON, it is possible to draw a waveform while listening to a 
sound : 

Step 1 Place the head of the stylus pen on the pad sheet, and play the 

key before pushing the switch on the stylus pen. 

Step 2 Switch it on while holding the key down, this will hold the sound. 

Step 3 Draw a waveform while holding the switch down, and the sound 

will change. 



Step 4 



Switch it off, and the sound will stop. 



When OFF, the original Start point, Loop point and End point are 

retrieved. 

If you move to another menu with W.LOOP ON, the original points 

will be automatically rewritten. 

When changed from a different menu to this menu, W.LOOP is 
automatically set to OFF. 



ICOPY > 



This can copy the 228 addresses of wave data shown in the Display 
to the succeeding data (up to the Wave End). 



ICLR WINDOW > 
ICLR ALL > 



This erases the 228 addresses of wave data shown in the Display. 

The entire Wave data from the Wave Top to the Wave End can 
be erased. 



80 



PROCEDURE 



Monitoring Wave 



28 DSP.WAVE 



2A DELETE 

22 TBUNCflTE 

23 COP« 

24 ttlX 



ii ar . sax-fl ?*»-» .-e^ 



as c 

26 H.FIJ.TEK 

27 UflVE DEMI 



ajfuSR i; W RV£ • 



Remaining Tiise fl-S-G 

B-8.Q 

Wave- Bank ft 






In this menu, the entire Wave Bank to which the 
Tone currently in use belongs, is shown. The Tone 
is shown in red, and the other Tones are shown 
in blue. The Wave Bank is divided into 18 
segments of the smallest .sampling time .{0.4 sec). 
The Display also shows the name of the Wave 
Bank. 



When a Sub Tone is in use, the wave data of the Original Tone that 
is used in the Sub Tone is shown in red. 



PROCEDURE II 



4. FUNC (Function) Mode 



The Function menu includes the following eight choices. 



MASTER TUNE 



11 MASTER TUNE 



in waster tune 



.-: ■"■' -;i :■.:■'! 12 ftSSION 

't; ■ '-i- 13 TRIG PI.A5J 

.'7.:-'"., '.".'■( *■* DOM lUtT 



?:I t* PBH IN IT 



3U» DISK ISABEL 

us note pair 
ir nuLtt patch 

IS HUI.Tr TONE 




1 Master Tune 



[-50 to to 50] 



This performs an overall tuning of the S— 50. At zero, the pitch of 
the sound is exactly the same as when set with the relevant Tone 
Parameters. 



Assigning a function to each Controller 



12 ASSIGN 



FUNC It MASTER TUNE 15 DISK LABEL, 
tfi MOTE FftO 
13 TRIG. ELA* tr HUXXf. PATCH 

id FHtt IN IT IB HULTI TONE 



This menu assigns a function to each Controller 
(Control Knob or DP-2). 



& Ccnrtrai Knob 

2 Mill I C.Chgr * 

3 DP-2 Th . : 



1 Control Knob 



One of the following three functions can be assigned to the Control 

Knob . 

*The Expression Pedal EV -5 works exactly the same as the Control 
Knob. Connect it to the External Control Jack (EV— 5) on the rear 
panel. When the EV— S is being used, the Control Knob on the front 
pane! does not work. 



82 



PROCEDURE il 




MODULATION 

4 



-* B&C&I 



[B.Range] (Bend Range) ten Key o 

This function changes Ihc maximum effect of Ihc bender effect 
caused by moving the Bender/Modulation Lever. The [Bend Range] 
parameter of the Patch currently called is edited. 

[M.Depth] (Modulation Depth) Ten Key t. 

This function controls the depth of the modulation caused by 
moving the Bender/Modulation Lever. The [Mod.Dcpth] parameter 
of the Patch currently called up is edited. 

[C.Chg] (MIDI Control Change Messages Transmit) ten Key 2 
This function transmits MIDI Control Change messages. The Control 
Change number to be transmitted can be selected with the following 
parameter : MIDI C.Chg #. 



2 MIDI C.Chg # (MIDI Control Change Number) [0 to 95] 



3 DP- 2 



When a C.Chg is assigned to the Control Knob, the Control Change 
number set here is transmitted. 



Either of the following two functions can be assigned to the 
connected pedal switch, such as a DP--2. 

[Tr.Play] (Trigger Play) Ten Key 

Each time the pedal is pressed, a trigger signal is sent. The [13 

TRIG PLAY] menu allows you to set the parameters for Trigger 

Play. 

[P.SHIFT] (Patch Shift) Ten Key t 
Pushing the pedal advances one Patch. 



83 



PROCEDURE II 



Setting Trigger Play 



13 TRIG PLAY 



i±. HASIEH IUME 15 DISK LflflEJu 
IZ flSSTGN IS NOTE FflD 

f XT t1UI*TI PATCH 
SA Pflfl INIT Iff HUtTI TONE 



CvnnflfuJ ■ 




nmM?mrHHtifnnwnriw 



tn it 



Up lo eight keys you have assigned can be played 
by pressing the pedal switch, or by feeding an 

audio signal. This is called Trigger Play. Trigger 
play allows you to play more than one key at the 
same time with the pedal switch,. instead of. playing 
the keyboard, and therefore, may be effectively 

used for adding effect sounds while you are 
playing the keyboard. 



Assigning the keys to be triggered 



'How to use trigger —play 



Up to eight keys can be triggered. Even when eight keys are 
assigned, the number of the voices actually triggered differs, 
depending on the Key mode of the Patch in use, the voice 
assignment in Multi Play, the number of keys being played on the 
keyboard, etc. 

Assign the keys to be triggered by playing the relevant keys on the 
keyboard. Any key exceeding the 8th key (e,g.9th, 10th key) will 
be ignored. 



To cancel the keys previously assigned, execute the [CLEAR] 
command. 

*The keys to be triggered cannot be assigned using MIDI Key messages. 



■ Trigger- play using the pedal switch (e.g. DP-2) 

Assign Tr.Piay to the DP-2 with the [12 ASSIGN], and the 
assigned keys are triggered by using the pedal. 

■ Trigger — play using an audio signal 

Refer to [1 Audio Trig] on the next page. 



84 



PROCEDURE II 



1 Audio Trig (Audio Trigger) 



[ON/OFF] 

To use trigger—play with an audio signal fed into the Input Jack 
of the S— 50. set the Audio Trig to ON. In any mode other than the 
REC mode, the assigned keys are triggered by the audio signal fed 
in. 



COMMAND 



IOCT SHIFT 



Push SHIFT to open the command window. 

[-2, -1, 0, 1. 2] 
The S-50 can be played from CO to C9.(The highest pitch, however, 
is two octaves above the Original Key). When the keyboard is in 
the normal condition (without OCTAVE SHIFT), the pilch range of 
the keyboad is C2 to C7. Using the Octave Shift function, you can 
shift the keyboard ±2 octaves, therefore you can Split Set the 
entire range from CO to C9. The Display changes according to the 
Octave Shift you set. 

* After assigning the keys, return the Oct.Shift In [11 PATCH PRM] 
to the original value. 



I CLEAR > 



This cancels the keys previously assigned for trigger— play. 

Simply push ENTER. 



85 



PROCEDURE II 



Initialize 



14 PRM INT 



NC: IX MflSIER TUNE U> BISK LABES, 
.-. •' 12 ASSIGN i<S NOTE PAD 

13 TFtTG peav it mitt r. patch 

I 18 HUCTI TONE 



|14".PBn r-l N I VThSsi 




This resets the parameters to the default values. 

The default values of the parameters are shown in 
the table on the next page. 



1 Parameter 



This selects which parameters are to be initialized, 

[ALL] Ten Key 

This initializes all the parameters. 

[Patch] Ton Key I 

This initializes all the Patch Parameters of all the Patches. 

[Tone] Ten Key 2 

This initializes all the Tone Parameters of all the Tones. 

[FUNC] Ten Key 3 

This initializes al! the parameters set in the Function mode. 

[MIDI] Ten Key 4 

This initializes all the parameters set in the MIDI mode. 

When you have selected the parameters to be initialized, open the 
command window and execute. 



86 



COMMAND 



PROCEDURE t! 



; EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER to execute. 

When completed, "COMPLETE" is shown on the Message Line. 



Default Setting of each Parameter 



Tone; Parameters- 



Org. Key 



Pitch Follow 



Fine Tune 



Level 



Tone Name 



Loop Mode 



Start 



Coop 



End 



Loop Tune 



LFO Rate 



LFO Depth 



LFO Deiay 



Env Sustain 



Env End 



Env Rate 1 



Env Level 1 



Env Rate 2 
Env Level 2 
Env Rate 3 
Env Level 3 
Env Rate 4 
Env Level 4 
Env Rate 5 
Env Level 5 



C5 



ON 



127 



1 Shot 



000000 



000000 



Address at the End 
Point (000000 
whan daieted) 







88 



127 



127 



127 
127 



127 



127 



127 



Env Rate 6 



Env Level 6 



Env Rate 7 



Env Level 7 



Env Rate 8 



Env Level 8 



Level Curve 



Key -Rate 



Vel-Rate 



127 



127 



127 



• 


Patch Parameters 


Key Mode 


Normal . 


Detune 





V-SW Thrsh 


64 


V-MIX Ratio 





Bend Range 


2 


Mod. Depth 


64 


A.T Sense 





A.T Assign 


Mod. 


Oct Shift 





Out Level 


127 


Name 


No Name 


Split (Commom 
for the entire 

keyborard) 
1st Tone 
2nd Tone 


11 
11 



• Prarnaters set in Function Mode 


Master Tune 





Control Knob 


M. Depth 


MIDI C.Cng # 


1 


DP-2 


Tr. Play 


Audio Trig 


OFF 


Assigned Keys 


Clear 


Label 


No Name 


Note 


No Name 


K.B 


A 


Voice Mode 


8 


RX-CH 


1-4 


Patch 


P1-P4 


Tone 


11-14 


Level 


127 


• Parameters set. in MIDI Mode 


RX-CH 


1-4 


TX-CH 


1 


P. Chg 


ON 


B. Range 


OFF 


Mod. 


ON 


Hold 


ON 


AT 


OFF 


Vol. 


OFF 


RX P.Chg# 


1-8 


TX P.Chg# 


1-8 


Exclusive 


OFF 


Device ID 


1 



87 



PROCEDURE II 



Setting a Disk Label 



15 DISK LABEL 



IS D ISK~. LABEL" 



\fi UL HOSIER TUNE. | 

~-rS 12. ASSIGN 1& NOTE. 'BAD 

ifi-!?-:? 13 TRIG FLAK XT ttUJGII PATCH 

3:5 3 14 BBtT INIT Iff HUETI TONE: 



taliel OOD UIHD.X 



>■'■:• •£■<.=■■: . 

e A B CS EF G H If K LH N O 



This sets the name of a disk, or changes the name. 
Up to 12 letters can be used for a name. 

Each letter of the name can be entered using the 
Alpha Dial or the ..Ten,.. Key.. Pad. ^Available letters 
are siikscreened on the Ten Key Pad. You do not 
have to push ENTER. 

Move the cursor with ► and 4 . 



zc : >.-' n 



Note Pad 



16 NOTE PAD 



11 tlflSTEH 1UHZ 13 DISK LABEL 
12: ASSIGN 

13 TRIG FLAV 17 HULH PATCH 

14 m» IN IT 18 MULTI TONE 



OLANU SOUND 

2881.1.1 

IROHAZfiKA 



This allows you to write a memo in each disk. 
Up to 48 letters can be used. Use the Alpha Dial 
or Ten Key Pad for writing the memo. You do not 
need to push ENTER. 

Move the cursor using ► , -< , A and Y. 



a ft B C B E F G H t J B L. M N O 



!- -F g It £ a If l "» n o 

» " » ":z C I 1 ". a. 



1 


— A—B— C 


7 


S-*T^U- 


2 


^D^E-F 


8 


-v-*w-*x 


3 


~*G-H — I 


9 


-Y-*Z-/ 


4 


-J-K-L 





-* + -*--* x 


5 


-M — N— 


ENT 


Space 


6 


-P^Q-*R 







88 



PROCEDURE II 



Setting Muiti Play 



17 MULT] PATCH 



18 MULT! TONE 



EUHC ±L MASTER IUNET 15 DISK LABEL 

12 ASSIGN 16 NOTE PAD 

12 TRIG VLttl L 

14. PRtt IN IT 18 MULT I TONE 



Uoice node 
A-L1S3 B-C fll C-CO] D-C 03 

hx-ch i z a 

Patch PI P2 P3 V 

Leuel 122" 127 127 127 



EUNC 11 MASTER TUNE IS BISK EAHEL- 

12 ASSIGN IS NOTE PAH 

13 TRIG EEAV 1? MULTI PATCH 
14- PRM TNir if: 



nuLII TONE. 



Uaice Made 

A-C163 B.-C S3 C-C BTO-C 33 
1. 2 3 

11 12 13 14- 

127. 127 127- 127 



ifmnimfnifiifnifflfffffPiff 



msmmmmmwm 



fl« ts 



Mufti Play allows you to play up to four different Patches, or Tones 
simultaneously, using MIDI messages sent on different MIDI channels. 
The number of voices which the S— 50 can play at the same time 
is 16. So, the four different sounds may be played using specific 

combinations of voices, e.g., 8,4,2 and 2. 

The parameters set in [17 MULTI PATCH] (Mutti Patch Play) 
and [18 MULTI TONE] (Multi Tone Play) are common for both 

menus. Changing the values of-^-the parameter of one menu 
automatically changes that of the other. 

The S— 50 is 16 voice polyphonic. Multi Play divides these 16 voices 
into some voice groups. How the voices are divided is determined 
by the Voice Mode. Each voice group can be played using MIDI 
messages sent on each MIDI channel. And one of the voice groups 
can be played with the S — 50's keyboard. 



Voice Mode 



This selects how the 16 
voices are divided. 

The following picture shows 
how the MIDI messages 
work on the voices 
(modules) in each Voice 
Mode. 





A 


B 


c 


D 


Voice Mode 1 


8 


4 


2 


2 


Voice Mode 2 


8 


4 


4 





Voice Mode 3 


8 


6 





2 


Voice Mode 4 


8 


8 








Voice Mode 5 


12 





2 


2 


Voice Mode 6 


12 





4 





Voice Mode 7 


14 








2 


Voice Mode 8 


16 












89 



PROCEDURE 11 



Voice Mode I 



Voice Mode 2 



Voice Mode 3 



Voice Mode 6 



Voice Mode 5 



Voice Mode 6 



Voice Mode 7 



Voice Mode 8 



90 



Ch A MIDI Message 
Ch S M!Dl Message 
Ch C MID! Message 
Ch D MIDI Message 



Ch a y 



T 



Ch b y Ch c y Ch D y 



oooooooo 



o o o op o 



o o 



INDIVIDUAL OUT A 



i 



Ch A MIDI Message 
Ch 8 MIDI Massage 
Ch C MIDI Message 



Ch Ay 



Ch B \ f Ch C y 



OOOOOOOOOOOOO OiO o 

»-» v«ta. •>> VOu C-* Veil. .' 



INDIVIDUAL OUT A 



i- 



¥ = Fi 



Ch A MIDI Message 
Ch B MIDI Massage 

Ch MIDI Message 






1 






Ch A.y. Ch B y Ch D y 




OOOOOOOOOOO OIO O O o 

*-» Vain »-« Vole» ! 0-3 Vw. 












...<!>.. 








-d) 


o 



INDIVIDUAL OUT 



X 



Ch A MIDI Massage 
Ch B MIDI Message 



Ch Av 



Ch B V 



oooooooo 



INDIVIDUAL OUT 



t 



o o o o 

•-• VWh 



o o 



o o 



3: 



-o- 

c x 



■a- 



Ch A MIDI Message 

Ch C MIDI Message 
Ch D MIDI Massage 






Ch Ay Ch cy Ch Dy 




O O O O O o OIO o o o 


O O 

C«» vo«. 


O O 

O-J Vm. 



INDIVIDUAL OUT 



^ 



-O- 
x 



a 



5 



Ch A MIDI Message 
Ch C MIDI Message 






] 






Ch A \J/ Ch c y 


I 




o o o o o o o o;o O O O 

»-IJ Voiu i 


o oio O 

C-« Vacti 










<!> 6 


-6 o- 


i 



INDIVIDUAL OUT 



C t 



'X 



Ch A MIDI Message 
Ch D MIDI Message 












Ch Ay Ch Dy 






O O O O O OiO O O OlO O 

A- 11 Vmc ! '. 


O O 

0-3 Vo*. 










nfv- 








-o o "O 





INDIVIDUAL OUT 



X 



X 



Ch A MIDI Message 



4 



OOOOOOOO 



O O O O 



O o 



o o 



INDIVIDUAL OUT 



-o- 



-o- 

'X 



•o a- 

: x D x 



PROCEDURE II 

Each voice group can be sent out separately through the Individual 
Output Jacks. Each of the output jacks. A to D, sends out the 
corresponding voice group. However, do not connect a plug to an 
output jack to which no choice is assigned (the jacks marked with 
an X). When all the four jacks arc used, the voices are assigned 
as A = 8 voices, B~4 voices, C = 2 voices and D=2 voice. (See page 
10.) 



1 RX-CH (Receive Channel) 



*The level of the sound from each jack may be different. If so, adjust 

the volume with a mixer, or the LEVEL parameter of each voice group. 
#lf the MIDI Key ON massages (and the keys played on the S— SO 

keyboard) exceeds the number of voices assigned to each voice group, 

the extra 'KEY "ON will be ignored. 
*ln Patch Play mode, playing one kay uses two voices if the Patch Is 

set to X—Fade, V~Mix or Unison Key mode. Therefore, the maximum 

number of voices is 8, 
#The voice group to which no voice is assigned ignores all MIDI 

messages. 

[1 to 16] 



This sets the receive MIDI channel of each voice group. 



2 PATCH 
2 TONE 



[PI to P8] 
[11 to 48] 



3 LEVEL 



In the [17 MULTI PATCH] menu, you can select the Patch to be 
assigned to each voice group. During live performance, you can 
change the Patches with MIDI Program Change messages (from an 
external device.) 

In [18 MULTI TONE] menu, you can select the Tone to be 
assigned to each voice group. During live performance, you can 
change Tones with MIDI Program Change messages (from an 

externa! device.) 

[0 to 127] 



This sets the level of each voice group. 



4 K.B.(keyboard) 



5 TX-CH 



[A to D, OFF] 



This selects the voice group to be played with the S — 50 keyobard. 
When OFF, no sound is produced by playing the keyboard. The 
control knobs or switches on the front panel of the S-50 control 
only the sound of the voice group (Patch or Tones) assigned to 
the S-50's keyboard. 

*No sound is produced when a voice group which has no voice is 
assigned to the keyboard, or when K.B. is set to OFF, but the MIDI 
messages are transmitted. 



You can change the Transmit channels. 



91 



PROCEDURE II 



5. MIDI Mode. 



This mode allows you to set the MIDI parameters. 



Setting MIDI Functions 



11 MESSAGE ; RX 



Mini ^Bi'*^i,-'«^iaaai ^> 

-'. 12. PKOG NUHBEH lfi 

'"•• : . .' ■ ;' • •'-• 13 • EXCtUS LVET ±T 

■'■'■'■■'■-■ lit 18- 





a-cifii h-c fli Cr-c Bi ir-c ei 1 


BX-CH: 




■_■■ "? . 


"3-. 


4- ' 


P-.Cfisr ■ 


OH 


Off 


ON 


ON 


Bendeir. 


' OH 


; on 


. ON 


ON 


B;Hange 


■:■ . off:--- 


OFF 


OFF 


OFF 


KodC..,. 


ON 


ON 


ON 


ON 


Haiti 


' • ON ■ 


ON 


ON 


ON 


ft^r 


■■. OFF,; 


• OFF 


OFF 


OFF 


Wnl 


OFF 


OFF 


OFF 


OFF 



In this page, you can set how the MIDI messages 
are received by the S-50. 



CH (Channel) [1 to 16] 
P.Chg (Program Change) 



Tone Bank 



V 


1 


2 


3 


4 


1 


1 


9 


17 


■25 


2 


2 


10 


18 


26 


3 


3 


11 


19 


27 


4 


4 


12 


20 


28 


5 


5 


13 


21 


29 


6 


6 


14 


22 


30 


7 


7 


15 


23 


31 


8 


8 


16 


24 


32 



Bender 
Bend Range 

Mod.(Modulation) 

Hold 

A.Touch (Aftertouch) 
Volume 



This sets the receive channel. 

This selects whether to receive the Program Change messages or not. 



Program Change message selects a Patch during Patch Play mode, 
and selects a Tone in Tone Play mode. 

In [12 PROG.NUMBER], you can set how each Program Change 
number corresponds to a Patch number. 

The Program Change numbers correspond to the Tone numbers as 

shown left. 



This selects whether to receive the Bender message or not. 

This selects whether to receive the Bend Range (Control Change RPC 
No.O) messages or not 

This selects whether to receive the Modulation (Control Change No. 
1) message or not. 

This selects whether to receive the Hold (Control Change No.64) 
message or not. 

This selects whether to receive the Aftertouch message or not. 

This selects whether to receive the Volume (Control Change No.7) 
message or not. 



92 



11 MESSAGE : TX 



BTTTII^lil MESSAGE 



%2. PBGC. NUHBEB 16 

13 EXCLUSIVE X7 

14 IS 



PROCEDURE il 



This determines the MIDI messages to be 
transmitted. 





KEK-BOflHD 


XX-CH 




p-Oisr 


on 


Eonder 


Oft 


B.Hange 


OFF . 


Hod.. 


OH. 


Hold 


ON. 


ft.X 


OFF 


VoL 


OFF" 



CH (Transmit Channel) [1 to 16] 

This sets the transmit channel. 



P.Chg (Program Change) 



Torsa Bank 



s 


1 


2 


3 


4 


1 


1 


9 


17 


25 


2 


2 


10 


18 


26 


3 


3 


11 


19 


27 


4 


4 


12 


20 


28 


5 


5 


13 


21 


29 


6 


6 


14 


22 


30 


7 


7 


15 


23 


31 


8 


8 


16 


24 


32 



This selects whether to transmit the Program Change Messages or 
not. 



Selecting a Patch or a Tone on the S-50 will transmit the 
corresponding Program Change number. 

In [12 PROG.NUMBER], you can set how each Program Change 
number corresponds to a Patch number. 

The Program Change numbers correspond to the Tone numbers as 

shown left. 



Bender 
Bend Range 

Mod.(Moduiation) 

Hold 

A.Touch (Aftertouch) 
Volume 



This selects whether to transmit the Bender message or not. 

This selects whether or not to send the Bend Range (Control Change 
RPC No.O) messages. 

This selects whether or not to send the Modulation (Control Change 
No. 1) message. 

This selects whether or not to transmit the Hold (Control Change 
No.64) message. 

This selects whether or not to send the Aftertouch message. 

This selects whether or not to transmit the Volume (Control Change 
No.7) message. 



93 



PROCEDURE 



Setting Program Change Numbers 



12 PROG.NUMBER 



IDt I IX tlESSflGE^ 



112; "PHOQ = MUnBEH ?.»!£ 



13 EXCLUSIVE 



This -sets 'how each Program Change number 
corresponds lo a Patch number. 



Ft PZ. P3 P4 P5T P6 P7 PS 
fiX . . ' Z. 3 4- S 6 7 8 

•£V- ■ -#' T- -T> ' .>f *T XT* T O 



RX (Receive) [1 to 127] This sets how the Program Change numbers sent from an external 

device change the Patch numbers on the S-50. 

TX (Transmit) [1 to 127] This sets what Program Change number is transmitted by changing 

the Patches on the S-50. 



SYSTEM EXCLUSIVE 



13 EXCLUSIVE 



Using the Roland MIDI System Exclusive, the data in the S-50's 
internal memory can be transferred. 

For details, refer to the "MIDI Implementation Chart" at the back 
of the manual. 



94 



PROCEDURE It 



6. DISK MODE 



LOADING 



This mode allows you to load the data saved on a disk into the 
S— 50, or to save the data from the S-50 to the disk. 



The data saved on a disk can be loaded into the internal memory 
of the S-50. 



Loading the entire data 

11 LOAD ALL (Page 96) 

Loading Function Parameters 

12 LOAD FUNC (Page 97) 

Loading MIDI Parameters 

13 LOAD MIDI (Page 98) 

Loading a Patch 

14 LOAD Patch (Page 99) 

Loading a Tone 

15 LOAD TONE (Page 100) 

Directory of Tone Names on a disk 

17 DIR TONE (Page 103) 

Directory of Patch Names on a disk 

18 DIR PATCH (Page 103) 



95 



PROCEDURE il 



Loading the entire data 



11 LOAD ALL 



111.- LOAD. :-ALCi^3S?I 



12 LOflE EUNC 
12 LOAD KID I 

14. toair patch 



ii> I.OAU ZONE 

ir ntR TQHK 
ia dih patch 



The entire sound data on the disk can be loaded 
into the S-50. 




System Program 



.-Tone Data: ■ ': 



tt&gpatcr* Data*!: 



:. : ::::'::functioa Data:- 



mmot Daxsm 



LOAD ALL 



{Loading all Data) 



S-50 interna! memory 



System Program 



Tone Data 



Patch Data 



Function Data 



MIDI Data 



COMMAND 



Insert a disk that contains the data to be loaded. 



Push SHIFT to open the command window. 



EXECUTE > 



Push ENTER, and "NOW LOADING" is shown on the Message Line, 
and the disk label of the disk which is currently being loaded is 
shown in the command window. 



When LOAD ALL is executed, "COMPLETE" is shown on the 
Message Line. 



96 



PROCEDURE II 



Lo ading Func Parameters 
12 LOAD FUNC 



13 HAD tlini ±T BIB TONE 



'M»"i')n'WtTH5*;i 




Only the Function data (the parameters which can 
be set in Function mode) is loaded into the S-50. 




System Program 



Tone Data 



Patch Data 



MIDI Data 



LOAD FUNC 



(Loadino Function Data) 



insert the disk that contains the data to be loaded. 



S-50 internal memory 



System Program 



Tone Data 



Patch Data 



Function Data 



MIDI Data 



■ EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW LOADING" is shown on the Message Line. 

TZXl FUNC !S CXeCUted ' " C ° MPLETE " * *- on the 



97 



PROCEDURE II 



Loading MIDi Parameters 



13 LOAD MIDI 



"DISK •"." 1± LOAD AL1* 
12 LOAD FUHC 






15 LOfltt TONE 

IT DIH TONE 
18 DIH PftTCIt- 



Only the. MIDI data (the parameters which can be 
set in the MIDI mode) is loaded into the S-50. 




System Program 



Tone Data 



Patch Data 



Function Data 



MIDI" Data. ;. 



LOAD MIDI 



(LoBdino MO Data) 



S-50 internal memory 



System Program 



Tone Data 



Patch Data 



Function Data 



MIDI Data 



Insert a disk that contains the data to be loaded. 



COMMAND 



i EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW LOADING" is shown on the Message Line. 

When finished, "COMPLETE" is shown on the message line. 



98 



PROCEDURE It 



Loading a Patch 



14 LOAD PATCH 



ISM l±.LOftD (iUU 

■": 12 1.0 AD FUNC 
: . 13 LOAD MIDI 



|14" iO flfl vP ftlCK- ^ * 



is .torn lottE. 
lfi 

IT MR TONE 
18 BIH PATCH 



COnHflniJ ■.?. 



Patch Parameters of a Patch saved on a disk can 
be loaded into the S— 50. 



Ui.sk 


Irefc Kl 


Ft Bas-i.Sajc 1 


Bar-i.. Sax 2 


P2 Alto Sax 1 


Alto S»k 2 


P3 




FA 




PS 




P6 




P7' 




PQ 





Step 1 



Step 2 



COMMAND 



EXECUTE > 





" u 


N 








S-50 interna! memory 






LOAD PATCH 








System Program 






System Program 












Tone Data 






Tone Data 










Patch Data 






(LoarfinB the selected Patch) 




Function Data — - ■ 


Function Data 


MIDI Data 


MID! Data 






J 









Insert the disk that contains the Patch data to be loaded, and push 
P4.(This menu can load only the Patch names of the data saved 
on the disk.) 

The left half of the Display shows the list of the Patches saved 
on the disk connected to the disk drive, and the right half shows 
the list of the Patches written in the internal memory of the S — 50. 

Where it says "DISK", enter the Patch number to be loaded 
( = source Patch), and at !NT, the Patch number where the source 
Patch Is to be loaded to ( = destination Patch number). 



Push SHIFT to open the command window. 

Push ENTER, and "NOW LOADING" is shown on the Message Line. 

When finished, "COMPLETE" is shown on the message line. 



99 



PROCEDURE II 



Loading a Tone 



15 LOAD TONE : DISK 



lI^jEOAB'JTONEw 



DlSKi; It- tOflll ALL 

.[•■):.:■. 12 Mffir FUNC 16 

'-: : ; '■■;:■'.= 13 LOAD- MIDr IT DIB TONE 

1* LOAD PATCH Iff Dm PATCH 



Bi.sk. i 1 ■ 

at ■ a ' 3. . ■' 4. 

1 Br.Sax-0 Hr.Sa«-E Br-. Sax- A Er.Sax~B 

2 Br-Sax-C: Br.Sax-B Br-.Sax-A fl-Sax-E 

3 Hc-..Sax~E HrvSax-F Bx-.Sax-A A.Sax.-B 
<t Br.Sax-G. Br-.Sax~tt Br. Sax- A Br.Sax-B 
S" AvSax-A A.Sax>-B A»Sax-E A.Sax-C 
£ft.Sa»rC ft..Srtx-B A-.Sax.-B Br-. Sax- A 
7" AvSax-rE A.Sax~F A..Sax~C Br.Sax~ft 
ff A-SaxHI. A.Sax-H fi.Sax-C Br.Sax~C 



You can ^..select any one of the Original Tones 

saved on a disk, and bad the Wave data and the 
Tone Parameters of that Tone into the S-50. 







S 








S-50 internal memory 




LOAD TONE 






System Program 




System Program 
















Tone Data 


Tone Data 


/ 


(Loadine a Tone) 




Patch Data 


-v Patch Data 


Function Data 


Function Data 


MIDI Data 


MIDI Data 


v 









Step 1 Insert the disk that contains the Tone data to be loaded, and push 

P5.(ln this menu, only the Tone names saved on the disk can be 
loaded.) 

Step 2 Where It says "DISK," enter the number of the Origins! Tone to 

be loaded. 



*A Sub Tone cannot be loaded as it does not contain Wave data.(* 
— " is indicated.) 



• Tone List Display 



Original Tones are displayed in yellow, and the Sub Tones in white. 



Pushing T will change the Display as follows. 



100 



PROCEDURE !l 











A-0. 8 


Display of an Original Tone at 30kHz Sampling. 










A-0. 8x2 


Display of an Original Tone at 15kHz Sampling. 




A letter represents a 
A number represents 


Wave Bank. 

the sampling time (sec). 




*# 11 ## 


Display of a Sub Tone. 










# * # # 


Display of an empty (unused) Sub Tone. 




The number in the Display represents an Original Tone from which 
the sub Tone borrows Wave data. [ — ] represents a deleted Tone 
or the Sub Tone that does not borrow Wave data from an Original 
Tone. 



Pushing- A wilt return to the normal Display. 

Step 3 When you have selected the Tone, push +PAGE to go to the next 

page. 



15 LOAD TONE : INT 



; ixowj -iohe:-*"U 



DISK 11. LORD ALL. 

IE LOAff FUNC 16 

13 load, mar ir dik tome: 

14- LOAD PATCH IS BIB PATCH 



* COMMAND 



1. Flute- A Flute-B FIu.te-A Flttte-B 

2 Flute-C FltvteHD Flute-C Fluie-B 

3 Steam- A Stean-B Steam- A Steam~B 
4. Becdr-ft- Beedr-ff Recdr-A Becdr-B 
S" Recdr- C Recdr-B Recdr.~C Becdr-B 
S Wateki -ft Ua telti.-a Wateki-A Uatefcx-a 
T Uateki-B Uateki-ft Uatefci.~B Uateki-fc. 
8. Ocar-fl Ocar-B- Ocac— A Ocar-B 



The list of Tones written in the S-50's internal 
memory is displayed. 



Remaining Time- A-0- If 

B-e.a 



Step 4 Where it says "INT," enter the destination Tone number where the 

source Tone is to be written. 

Any of the 32 Tone numbers can be selected as a destination Tone. 
However, when an Original Tone is a destination Tone, the Wave 
data will be replaced with the Wave data of the source Tone, and 
any Sub Tone that uses that Wave data will be deleted, becoming 
an empty Tone. 



i Tone List Display 



In exactly the same way as in the [DISK] page, the Display can 
be changed to Tone List. 



101 



PROCEDURE I! 



• Remaining Time Display 



The remaining time (sec) of each Wave Bank is shown for 30kHz 

sampling time. 

The space required for ioading the Wave data on a disk into the 

internal memory varies as shown below , depending on the 
destination Tone, 

■Required space when loading to an Original Tone within the same 
Wave Bank : 

The source data must be less than the previous Wave data + 
Remaining Time of the Wave Bank 

■Required space when loading to an Original Tone in a different 

Wave Bank 
■ Required space when loading to a Sub Tone : 

The source data must be less than the remaining time of the 
destination Wave Bank 



Step 5 



*lf there is not enough space, the excess data will be ignored. 

To increase the space, you should delete some unneeded data. You 
may either delete a Tone with [21 DELETE] in Edit mode, or cut 
off unneeded portions of a wave with [22 TRUNCATE]. 

Open the command window and execute the LOAD TONE command.. 



COMMAND 



! EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW LOADING" is shown on the Message Line. 

When finished, "COMPLETE" is shown on the message line. 



102 



PROCEDURE (I 



Directory of Tone Names on a disk 



17 DIR TONE 



HTTP* 



ULQflll nu. 
12 wan EUKC 
is toftQ Minx • 

14 LOAD PATCH 



ISWflQ TONE 

*£■-■■■■■■.■-■-■■■: 



L?"BIR TOHfe: 



ia nut -patch. 



You can see the list of the Tone names saved on 
a disk. 



■ ■ l. '■£■■' ■ a ■■■■ .■'■■•■* • 

f. Br.Sax-A Hr.Sait-E Br.Sax-ft .'&■*•. Saut-St 
Z. Br.Sax-C. Br -Satt-Bflr. Ssac-ft.fi. Sax-E 

2'Hr.Siis-E Brr.Sax-F Br-.Sax-A A,Sax-E 
* BcSax-G Br~S<*x~H Br.Sax-^-ft BcvSax-B:. 

5 A, Sax- ft tt.Sax^-E ft.Sax.-E ft -Sax-C • 

6 ft^-Sax-C A..Sax-B O-Sax-B. Erv.Sax-ft 
T B-Setx-E. A.Sak-F "tt-Sax-C: .Br-.Saxrft 
8 ft -Sax-a A . Sax-H II. Sax-C , . BiriSax-C 



To see the Tone directory on more than one disk, exchange the 
disks and push P7. 



Directory of Patch Names on a disk 



18 DIR PATCH 



12. LOOB TUNC 

13 XQftB MHIE 

14 LQftB PATCH 



15 L.O0D TONE 

te ■■ ■■■■'■■■ 

17 BIR TONE 



tDXB^fllCH, -.,- 



You can see the list of the Patch names saved on 

a disk. 




To see the Patch directory on more than one disk, exchange the 
disks and push P8, 



103 



PROCEDURE II 



SAVING 



The data written in the internal memory of the S — 50 can be saved 
onto a disk. 



Saving the entire data 

21 SAVE ALL (Page 105) 

Saving Function Parameters 

22 SAVE FUNC (Page 106) 

Saving MIDI Parameters 

23 SAVE MIDI (Page 107) 

Saving a Patch 

24 SAVE PATCH (Page 108) 

Saving the System only 

25 SAVE SYS (Page 109) 

Formatting a Disk 

27 FORMAT (Page 110) 

Backup 
~28 BACKUP (Page 111) 



The Protect Tab on a disk serves to protect the data from accidental 
erasure. To save data onto a disk, be sure to set the tab to the 
WRITE position first. Then insert it into the disk drive. When the 
Protect Tab is set to the PROTECT position, the data cannot be 
saved. After saving is completed, be sure to return the tab to the 
PROTECT position. 

A brand new floppy disk, or a disk being used for any device other 
than the S-50, should first be formatted as explained on page 110. 
Then it is possible to save the data.- Without property formatting 
a disk, the data cannot be saved. 



104 



PROCEDURE I! 



Saving the entire data 



11 SAVE ALL 



; ; r /.e 22 SAVE. fUNC 26. 

■vr::- 23 SAVE KlUr 27" FOHMAT 

HW a* save: paich 28 backup 



COMMAND 




The entire sound data in the internal memory of 
the S— 50 can be saved onto a disk. 

Set the Protect Tab of the disk to the WRITE 
position, and insert the. disk into the disk drive. 





System Program 








Tone Data 












Function Data 




MID! Data 


\_ 





SAVE ALL 



(Saving the entire data) 



S-50 interna! memory 



System Program 



SxTone: bat&: : 3 



#:Pa\ctiDaX$&W& 



function DatayXv'lv": 



S^O^DrtaMxS 



COMMAND 



Set the Protect Tab of the disk to the WRITE position, end insert 
the disk into the disk drive. 



! EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW SAVING" is shown on the Message Line. 

When it counts down up to "00" and "COMPLETE" is shown on 
the Message Line, SAVE ALL is completed. 



Remove the disk from the disk drive, and return the Protect Tab 

to the PROTECT position. 



105 



PROCEDURE II 



Saving Func Parameters 



22 SAVE FUNC 




Only the Function data (the parameters which can 
be set in the Function mode) is saved onto a disk. 

Set the Protect Tab on the disk lo the WRITE 

position, and insert it into the disk drive. 





* — u 


s. 






S-50 internal memory 






SAVE FUNC 










System Program 






System Program 












Tone Data 






Tone Data 


Patch Data 


Patch Data __^ 


Function Data 


:j::>::i::;;:;<::-Functio 




(Saving Function Data) 




MIDI Data 


MIDI Data 


s 




) 









Set the Protect Tab of the disk to the WRITE position, and insert 
the disk into the disk drive. 



COMMAND 



EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW SAVING" is shown on the Message Line. 

When finished. "COMPLETE" is shown on the message line. 



Remove the disk from the disk drive and return the Protect Tab 

to the PROTECT position. 



106 



PROCEDURE H 



Saving MIDI Prameters 



23 SAVE MIDI 



•••:.•: -22- SAVE FUNC 



J3 * SflME>'n lii i 



2A SAVE PATCH 



25 SAVE SY.S 

as '■■.;■-■■■' v- 
zr FOBrmr 

2ff BACKUP 



COnnflnJJ 



Only the MIDI data (the parameters which can be 

set in the MIDI mode) is saved onto a disk. 






s 






S-50 internal memory 




SAVE MIDI 








System Program 




System Program 










Tone Data 






Tone Data 


Patch Data 


Patch Data 


Function Data 


Function Data 


MIDI Data 


IjllllliiMiDinSSillill:! 




(Saving MIDI data ) 






y 









Set the Protect Tab of the disk to the WRITE position, and insert 
the disk into the disk drive. 



COMMAND 



EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW SAVING" is shown on the Message Line. 

When finished, "COMPLETE" is shown on the message line. 



Remove the disk from the disk drive and return the Protect Tab 
to the PROTECT position. 



107 



PROCEDURE II 



Saving a Patch 



24 SAVE PATCH 



IlSW^i 2J, SflVK ALJL 
: ■ 22. SAVE FUNC 
••'•".! 23 SftUE MIDI 



24 .SAvE.PftTOj ;.?5| 



2S SAVfcL SVS 
26 

27 FOHMfir 

28 BACKUP 





COMMAND 


int. . • 


Disk PX 


PL Harri.Sax 2 


Bar £ -Sax 1 


P2 Alto Sax 2. 


Alto Sax f. 


P3 




Pd 




PS 




P6 




P7 




PS 





System Program 



Tone Data 



Patch Data- 



Function Data 



MIDI Data 



Patch parameters of a Patch written in the S-50 
can be saved onto a disk. 

The left half of the Display shows the list of the 
Patches written in the internal memory of the 
S-50, and the right half shows the list of the 
Patches saved on the disk. 



SAVE PATCH 



{Savins the selected Patch) 



S-50 internal memory 



System Program 



Tone Data 



Patch Data 



Function Data 



MIDI Data 



Step 1 Set the Protect Tab on the disk to the WRITE position, and insert 

the disk to the disk drive. 

Step 2 Push P4.(This menu lets you see only the Patch names of the data 

saved on the disk.) 



Step 3 Where it says'lNT," enter the Patch number to be saved ( = source 

Patch), and at DISK, the Patch number where the source Patch is 
to be saved (—destination Patch number). 



COMMAND 



■ EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "NOW SAVING" is shown on the Message Line. 

When finished. "COMPLETE" is shown on the message line. 



Remove the disk from the disk drive, and return the Protect Tab 

to the PROTECT position. 



108 



PROCEDURE I! 



Saving the System 



25 SAVE SYS 



J! 23. SAME. ALL. 

m&r-M 22 save fukc 

•:'^;:- ; -i 23 SftUE HIBI . ' 
4i--i-'-M ZA SA«E PATCH 



>5 SAVE SVS 



as • 

27 FOBHOr 
2B BACKUP 



4,unnHriij 



The system program loaded in the internal 

memory can be saved onto the disk. 




^™U 


\ 






S-50 internal memory 




SAVE SYSTEM 








System Program 






$S : : : :$: : :Sys'tem: Program::'x::$:S:: 






{Saving the System Program) 














Tone Data 






Tone Data 




Patch Oata 


Patch Data 


Function Data 


Function Data 


MIDI Data 


MIDI Data 




J 









Set the Protect Tab on the disk to the WRITE position, and insert 
the disk. 



COMMAND 



EXECUTE > 



Push SHIFT to open the command window. 

Push ENTER, and "S-50 VER.2.00" is shown on the message line. 

When finished, "COMPLETE" is shown on the message line. 



Remove the disk from the disk drive, and return the Protect Tab 

to the PROTECT position. 



109 



PROCEDURE It 



Format 



27 FORMAT 



UiSX 21 SAVE ALL. 25 SAVE SVS 

":•• 22 SAVE FUHC ?A 
■■"■22 SAVE' HID! 

24 SAVE PATCH 28 BACKUP 



TOBMA T^M-.r 
COMMAND 




This formats.' the disk for the S — 50, and saves the 
system program loaded in the interna! memory of 
the S-50. 

-Xhfi— data . Ja ^the.^S tJ5Q~ .-cannot ...be. .saved, .onto. . a 
brand new disk, or a disk which has been used for 
a device other than the S—50, unless it is 
formatted. 



COMMAND 



FORMAT 



System Program 



Make a space for the S-SO and write the system program on a 
brand — new disk or the disk used for something else. 

Set the Protect Tab on the disk to the WRITE position, and insert 
the disk. 



Push SHIFT to open the command window. 



EXECUTE 



Push ENTER, and "NOW FORMATTING" is shown on the message 

line. 



When it counts down to 00, and "COMPLETE" is shown, FORMAT 
is completed. 



Remove the disk from the disk drive and set the Protect Tab to 

the PROTECT position. 



110 



PROCEDURE ft 



Backup 



27 BACKUP 



DISK 2JL SAUK.-AU. 

■■■■- 22. SflUE" EUNC 

23 S'AUE MIDF' 

24 SflWET PATCH 



-.25. SAVE...SVS 
2ft ■ 

2r format 



laBflcwjp.-^.i 

COMMAND 



The entire data in the internal memory of the 
S-50 can be saved onto a disk. 




System Program 



©FORMAT 



S-50 internal memory 



System Program 



l^xylgj^xfone: bata:$&::: 



j&Patcri: "D'ata*;SSx 



^Function! Data : > 



SSmidj: Da'taiH;;;:;: 



SAVE ALL 



System Program 



Tone 


Data 


Patch 


Data 


Function Data 


M!D! 


Data 



111 



PROCEDURE II 



BACKUP includes both the [FORMAT] and [SAVE ALL] functions. 

Set the Protect Tab on the disk to the WRITE position, and insert 

it into the disk drive. 



COMMAND 



EXECUTE > 



Push SHIFT to open the command window. 
Push ENTER. 

"FORMATTING" is shown on the message line first, then it counts 
down to 00, and "NOW SAVING" appears. 

When it counts down to 00 again, and "COMPLETE" is shown. 
BACKUP is completed, 



Remove the disk from the disk drive, return the Protect Tab to the 
PROTECT position. 



112 



7. AUX Mode 



DT- 100s Switch 



11 DT-100 



PROCEDURE 



Ili-UT-lflB 





•.;-■;••■ ;>-. : :; ; . 12. CGNVEBX :.-.• 


I& ■■■ 




, : :::; '■;:■•: vs. ■ 


■ rvr: 




'; ■-■■■■ ■•-:. 1A 


Iff CHfiNGF SVS 


■}' : sl nx-iaa •'••viyi-: : .;/„;-- r -.::. ; '. : '' 



Turn this to ON when using the DT-100. 

*This parameter data is saved on a disk together 
with ..the function ~data (the -parameters set in the 
Function mode.) 



Convert 



12 CONVERT 



5AUX.:. : : n. nx-iaa • is- . 


1 


BBMSBW 1? -^ohufrt .a»» vflf.'HHnilHB 




:■•■;■■;,-:.■■; 13 ■ ±7 




■■■■■■ ■■---■14 18 CHANGE SVS . 




• : i ; r/'.-.- ; •.:--!iJ-.:-;-- cOrtrtftND 




CONVERT updates a Ver.1.00 disk to Ver.2.00. 
The system program of the Ver. 1.00 disk is 
converted into Ver.2.00 leaving the sound data 

intact. 



COMMAND 



Insert the Ver.1.00 disk to be converted into the disk drive with the 
Protect Tab set to the WRITE position. 



i EXECUTE > 



Push SHIFT to open a command window. 

Push ENTER, and "WORKING" is shown on the message line. 

When finished. "COMPLETE" is shown on the message line. 



Remove the disk from the disk drive and return the Protect Tab 

to the PROTECT position. 



113 



PROCEDURE li 



Change System 



18 CHANGE SYS 



The Change System Junction is provided to exchange the System 
Program of the Ver.2.00 disk for further software, e.g. sequencer 
which will be released in the future. 

*.Do not use this function to. convert a VerJ.QO disk into Ver.2.00 <, 
but use the CONVERT function. 



1 14 



ERROR MESSAGE TABLE 



DISK LOAD ERROR** (No matter what number is shown at **, the necessary procedure to be 
taken is the same.) 

There is something wrong with the system disk. Replance it with a proper 
one. 



DISK ERROR** 



(No matter what number is shown at **, the necessary procedure to be 
taken is the same.) 



There is something wrong with a floppy disk. Replance it with a proper one. 



DISK PROTECTED 



The Protect Tab on the floppy disk is set to the PROTECT position. Set the 
tab to the WRITE position and repeat writing. 



INSERT DISK 



A floppy disk is not connected to the S— 50 or the connected disk is not 

formatted for the S-50. Insert a disk formatted for the S-50. 



DISK Ver. ERROR 



This error -message appears when you have tried to read data from the Ver. 
1.0 disk on the S— 50 booted with the Ver. 2.0 system, or when you have 

tried to convert the disk already converted from Ver. 1.0 to 2.0. 



NOT EXECUTE 



This is shown when you have tried to execute what is impossible on the 
S — 50. such as the value you have set is not appropriate. 



115 



SPECIFICATIONS 

61 key, 16 voice, polyphonic sampling 
keyboard with velocity sensitivity and 
aftertouch. 



I Memory 

Wave Data 512k words 
32 Tone/Tone Parameters 
8 Patch/Patch Parameters 
Function Parameters 
MIDI Function Parameters 

I Front Panel 
Volume Knob 
Recording Level Knob 
Bender Modulation Lever 
Patch Button 
Patch Selector Buttons 
Shift Button 
Display 

Mode Selector Buttons 
Ten Key Pad (0 to 9, ENTER) 
Cursor Buttons 
Alpha Dial 
Page Buttons 

I Rear Panel 
Headphone Jack 

Output Level Switch 

Mix Output Jack 

Individual Output Jacks x 4 

Input Gain Knob 

Input Jack 

Hold/Rec Start Jack 

External Control Jack x 2 

MIDI Connector x 3 

RGB Connector for a Color Monitor Display 



■ Weight 
13kg/28 lb 11 oz 

■ Consumption 
36W 

■ Accessories 
Connection Cord x 1 

System Disk x 1 
Sound Library Disk x 4 
Floppy Disk Case 
Owner's manual 
Guide Book for MIDI 
Power Supply Cord x 1 

■ Options 

Pedal Switch DP-2, FS-5U 

Expression Pedal EV-5 

Digitizer Tablet 

RGB Cable RGB-25N 

3.5" Micro Floppy Disk MF2DD 

Sound Library Disks RSB-501 to 505 

* Specifications era subject to change without 
notice. 



Composite Connector for a Black and 

White Monitor Display 
AUX Connector 
Power Switch 

■ Disk Drive 
3.5" Micro Floppy Disk Drive : Double 
density. Double Track (2DD) 



I Dimensions 
1105.5 (W) 
/43-1/2" 

16" 



X 328 (D) X 93 (H) mm 
X 12-15/16" X 3-11/ 



116 



INDEX 



Address- 54 

Aftertouch Assign 41 

Afterlouch Sense 41 

A. Loop-" 56 

ALT (Alternating Loop) 51 

Alternate 51 

ASSIGN 82 

A. T Assign 41 

A. T Sense- •• 41 

Audio Trig 85 

Audio Trigger 85 

AUTO 35 

AUTO Looping 56 

AUTO Sampling 35 

AUX Mode 12 

BACKUP Ill 

Back — up 18 

Bend Range •• 41 

Booting 16 

Break Points 58 

CHANGE SYS 114 

COMBINE 74 

COMMAND 25 

command window '■• 25 

Control Knob 82 

CONVERT 113 

COPY 70 

Cutoff Frequency •• 77 

DELETE 65 

Destination • 68 

Detune 40 

D. Filter 76 

Digital Filter 76 

DISK LABEL 88 

Disk Memo 88 

DISK MODE 95 

DP -2 83 

DIR PATCH 103 

DIR TONE 103 

DSP. WAVE 81 

EDIT Mode 38 

END 59 

End Point 50, 59 

ENVELOPE 58 

EXCLUSIVE 94 

EXECUTE r 26 

Fine Tune 48 

FORMAT 110 

Forward (Loop) 51 

Frequency - ■ 32 

FUNC (Function) Mode - 82 



FWD 51 

High-pass Filter 76 

HPF 76 

Individual Output Jacks ' 10 

Initialize 86 

K. B 91 

Keyboard 91 

Key Mode 39 

Key- Rate •■•■- - --■■ 61 

Level 48 

Level Adjust 77 

Level Curve 61 

LFO Delay 57 

LFO Depth 57 

LFO Rate 57 

LOAD ALL 96 

LOAD FUNC 97 

LOAD MIDI 98 

LOAD PATCH 99 

LOOP 50 

Loop Mode 51 

Loop Tune 56 

Low-pass Filter 76 

LPF -' 76 

MANUAL T^. 36 

Manual Sampling 36 

MASTER TUNE 82 

menu 23 

MESSAGE 92 

Message Line- 24 

MIDI C. Chg# 83 

MIDI Control Change Number 83 

MIDI Mode 92 

MIX 72 

Mod. Depth (Modulation Depth) 41 

Modes 12 

MULTI PATCH 89 

Multi Play 21,89 

MULTI TONE 89 

NAME 43,49 

Norma! 39 

NOTE PAD 88 

Octave Shift ♦• 42,85 

Oct Shift 42,85 

lShot (One Shot) •••.• 51 

Original Key Number 33,47 

Original Tone 14,47 

Orig. Key 33.47 

Orig. Tone 14.47 

Out Level ■ 42 

Output Level 42 



117 



page 23 

Patch Parameters 38 

Parameter 86 

Patches 15 

Patch Play 19 

PATCH PRM 38 

P. Chg 92 

Peak Search •••■ 55 

PITCH MOD---- *■- — •' 57 

Pitch Follow 48 

Pitch Shift 83 

Play Mode 19 

Pre-Trigger 34 

PREVIOUS 36 

Previous Sampling 36 

PRM INIT 86 

Program Change Number 94 

PROG. NUMBER 94 

P. SEARCH 55 

P. SHIFT 83 

Rate 58 

REC (Sampling) Mode 28 

Receive Channel 90 

Remaining Time Display •••• 31,37,69,102 

Resonance 77 

Reverse 51 

Sampling 13 

SAMPLING 29 

Sampling Frequencies 13 

Sampling Threshold 34 

Sampling Time 33 

SAVE ALL 105 

SAVE FUNC 106 

SAVE MIDI 107 

SAVE PATCH 108 

SAVE SYS 109 

SAVING 104 

SPLIT 44 

SPLIT Set 44 

Source 6S 

Start Point 50 

Sub Tones 15,47 

SUS 59 

Sustain Point -*■ 59 

System Program 16 

Threshold 34 

Time 33 

Tone List Display 30,68,100,101 

Tone Play 19 

TONE MAP 63 

Tone Parameter 47 



TONE PRM • 47 

Trigger Play 84 

TRIG PLAY 84 

Unison 39 

Unison Detune 40 

Velocity Cross Fade 39 

Velocity Mix 40 

Velocity Mix Ratio 40 

Velocity -R-ate ■ •--?■•■ ■ 62 

Velocity Switch 39 

Velocity Switch Threshold 40 

Vet -Rate 62 

V-Mix 40 

V-Mix Ratio 40 

V-SW 39 

V-SW Thrsh 40 

Vibrato 57 

Voice Mode 89 

Wave Bank 14 

Wave Data 14 

WAVE DRAW 78 

Wave Scope 29 

W. SCOPE 29 

X-Fade 39 



118 



16 -VOICE DIGITAL SAMPLING KEYBOARD 

model s-50 MIDI implementation Chart 



Date : Mar. 30. 1 987 
Version : 2.00 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channai Changed 


1-16 
1-16 


1-16 *4 
1-16 *4 


*2 


Default 
Mode Messages 
Altered 


Mode 3 
Mode 3 
********* 


Mode 3 

X 

X 


*2 


Note 
Number 


• True Voice 


39-96 
********* 


0-127 

0-127 




,, , . Note ON 
Ve ocity ,, „„„ 
Note OFF 




X (9n, v = 0) 


*1 
X 


v=1-127 


After Key's 
Touch Ch's 


X 

*1 


X 

■*1 




Pitch Bender 


*1 


*1 (0-12 semi) 


9 bit resolution 


1 
7 

64" 

Control 

Change -|00, 101 
6. 38 


*1 

*1 
*1 


*1 
*1 
*1 


Modulation 

Volume 

Hold 

RPC LSB. MSB 

Data Entry 

LSB, MSB 
Number-0 

Pitch Bend Sensitivity 


Prog 
Change 


True # 


*1 (0-127) 

********* 


*1 (0-127) 
0-127 


*3 


System Exclusive 


*1 


*1 




System 
Common 


Song Pos 

Song sel 
Tune 


X 
X 

X 


X 
X 
X 




System 
Real Time 


; Ciock 

i Commands 


X 
X 


X 
X 




Aux | 

Message • 


Local ON/OFF 
All Notes OFF 
Active Sense 
Reset 


X 

O (123) 

X 

X 


X 

O (123-127) 

X 

X 




Notes 


*1 Can be set to O or X manually, and memorized by disk. 

*2 Memorized by disk. 

*3 Program change numbers for each Patch can be set freely. 

*4 MIDI Channel of each voice group can be set in Multi Channel Mode. 



Mode 1 : OMN! ON. POLY 
Mode 3 : OMNI OFF, POLY 



Mode 2 : OMN! ON. MONO 
Mode 4 : OMNI OFF. MONO 



O : Yes 
X : No 



^ 





Ver. 2.00 

MIDI implementation 



Hoiana txciusive iviessages 



Data Format for Exclusive Messages 



Roland's MIDI implementation uses the following data format 
for all exclusive messages (typo IV) : 



One- way transfer pro'cedure (See Section3 for details.) 

This procedure is suited for the transfer of a small amount nf 
data. It sends out an exclusive message completely indcpcndenl 
of a receiving device status. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


CMD 


Command ID 


[BODY] 


Malndata 


F7H 


End of exclusive 



Connection Diagram 



Device (A) 



Device (B) 



MIDI OUT 




un in 


WOt IN 


■*""" 


m>t our 



Connectionat polnt2 is essential for "Request data" 
(Sec Section3J 



procedures. 



# MIDI status 



FOH, F7H 

An exclusive message must be flanked by a pair of status 
codes, starting with a Manufactures- ID immediately after FOH 
(MID! versionl.0). 



# Handshake- transfer procedure (See Section4 for details.) 

This procedure initiates a predetermined transfer sequence 
(handshaking) across the interface before data transfer lakes 
place. Handshaking ensures that reliability and transfer speed 
are high enough to handle a large amount of data. 



# Manufactures- ID : 41H 

The Manufactures— ID Identifies the manufacturer of a MIDI 
instrument that triggeres an exclusive message. Value 41H 
represents Roland's Manufactures-ID. 

a Device- ID : DEV 

The Device— ID contains a unique value that identifies the 
individual device in the multiple implementation of MIDI 
instruments. It is usually set to 00H - OFH, a value smaller 
by one than that of a basic channel, but value. OOH - 1FH 
may be used for a device wilh multiple basic channels, 

# Model- ID : MDL 

The Model -ID contains a value that uniquely Identifies one 
model from another. Different models, however, may share an 
identical Model -ID if they handle similar data. 

The Model- ID format may contain 00H In one or more places 
to provide an extended data field. The following are examples 
of valid Model— IDs, each representing a unique model : 

DIH 
02H 
03H 
OOH, 01H 

00H, 02H 
OOH, OOH, 01H 

# Command- ID : CMD 

The Command- ID Indicates the function of an exclusive 
message. The Command-ID format may contain OQH in one 
or more places to provide an extended data field. The 
following are examples of valid Command -IDs, each 
representing a unique function : 

•OIH 
02H 
03H 

OOH, OIH 
OOH, 02H 
OOH, OOH, DIH 

# Main data : BODY 

This field contains a message to be exchanged across an 
interface. The exact data size and contents will vary with the 

Model-ID and Command-ID. 



Connection Diaaram 



Devloe (A) 



Device (B) 




Connectionat pointsl and 2 is essential. 

Notes on the above two procedures 

♦ There are separate Command -IDs for different transfer 

procedures. 
*DevlcesA and B cannot exchange data unless they use the 

same transfer procedure, share identical Device- ID and Model 

ID, and are ready for communication. 



^ B One -way Transfer Proc e dure 



This procedure sends out data all the way until it stops when 

the messages are so short that answerbacks need not be 

checked. 

For long messages, however, the receiving device must acquire 

each message in time with the transfer sequence, which inserts 

Intervals of at least 20milllseconds In between. 



Types of Messages 



Message 


Command ID 


Request data 1 
Data set 1 


ROI (1IH) 
DTI (12H) 



Address- mapped Data Transfer 



Request data # 1 : RQ1 (11H) 

This message is 6ent out when there Is a need to acquire data 
from a device at the other end of the interface. II contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQ1 message, the remote device checks its 
memory for the data address and size that satisfy the request. 

If it finds them and is ready for communication, the device 'will 
transmit a "Data set 1 (DTI)" message, which contains the 
requested data. Otherwise, the device will send out nothing. 



Address mapping Is a technique for transferring messages 
conforming to the data format given in Section 1. It assigns 
a series of memory -resident records — waveform and lone 
data, switch status, and parameters, for example — to specific 
locations in a machine-dependent address space, thereby 
allowing access to data residing at the address a message 
specifies. 

Address -mapped data transfer Is therefore independent of 
models and data categories. This technique allows use of two 
different transfer procedures : one-way transfer and 
handshake transfer. 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufactures ID (Roland) 


DEV 


Devioe ID 


MDL 


Model tD 


11H 


Command ID 


aaH 


Address MSB 




LSB 


mh 


Size MSB 




LSB 


sum 


Chock sum 


F7H 


End of exclusive 



# Data set 1 



*The size of the requested data does no! indicate the number 
of byles that wil! make up u DTi message, but represents 
the address fields where the requested data resides. 

*Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The same number of bytes comprises address and size data, 
which, however, vary with the Model— ID. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 

DTI (12H) 
This message corresponds to the actual data transfer process. 
Because every byte in the data is assigned a unique address, 
o DTi message can convey the starling address of one or 
more data as well as a series of data formatted in an address 
— dependent order. 

The MIDI standards inhibit non-real time messages from 
interrupting an exclusive one. This fact Is inconvenient for the 
devices that support b "soft -through" mechanism. To maintain 
compatibility with such devices, Roland has limited the DTI to 
256 bytes so that Bn excessively long message is sent out in 
separate segments. 



Byte 


Description 


FOH 


Exclusive 


41 H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


12H 


Command ID 


aaH 


Address MSB 


1 


LSB 


ddH 


Da 


a 


sum 


Chi 


sck sum 


F7H 


End of exclusive 



*A DTI message is capable of providing only the valid data 
among those specified by an RQl message. 

•Some models are subject to limitations in data format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The number of bytes comprising address data varies from 
one Model— ID to another. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for on address, size, and that checksum are summed. 



# Example of Message Transactions 

• Device A sending data to Device B 
Transfer of a DTI message is all that takes place. 



Device (A) 



Device (B) 



(Data set 1] — » » 

*More than 20m sec time internal. 

[Data set 1] : s«- 



[Data set 1] 



• Device B requesting dats from Device A 
Device B sends an RQl message to Device A. Checking ihe 
message. Device A sends a DTI massage back to Device B. 



Device (A) 
(Data set I] — «- 



Device (B) 



-(Request data] 



[Data set 1] »— 

*Mera than 20m sec time internal. 

[Data sat I] ■• " -—■ 



[DatB sat 1] 



^1 Handshake- Transfer Procedure 



Handshaking is an interactive process where two devic 

exchange error checking signals before a message transacts 
takes place, thereby increasing data reliability. Unlike one-w; 
transfer that inserts a pause between message iransactior 
handshake transfer allows much speedier transactions beuau 
data transfer starts once (he receiving device returns a rua< 
signal. 

When it comes to handling large amounts of data — sampl 
waveforms and synthesizer tones over ihe entire range, fo 
example — across a MIDI interface, handshaking transfer 
more efficient than one-way transfer. 



Types of Massages 



Message 


Command ID 


Want to send 


data 


WSD (40H) 


Request data 




RQD (41H) 


Data set 




DAT (42H) 


Acknowledge 




ACK <43H) 


End of date 




EOD (45H) 


Communication 


error 


ERR (4EH) 


Rejection 




RJC (4FH) 



# Want to send data : WSD (40H) 

This message is sent oul when data must be sent to a devi 
at the other end of the interface. 11 contains data for tl 
address and size that specify designation and Hsu*:' 
respectively, of Ihe data to be sent. 

On receiving a WSD message, the remote device checks i 
memory for the specified data address and, size which w 
satisfy the request. If it finds them Bnd is ready J 
communication, the device will return an "Acknowlcdi 
(ACK)" message. 
Otherwise, it will return a "Rejection (RJC)" message. 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


40H 


Command ID 


aaH 


Address MSB 


! 


LSB 


ssH 


Size MSB 


: 


LSB 


sum 


Check sum 


F7H 


End of exclusive 



♦ The size of the data to be sent does not indicate the numb 
of byles that make up a "Data set (DAT)" message, b 
represents the address fields where the data should resfdi 

*5ome models are subject to limitations in data format us< 
for a single transaction. Requested data, for example, mt 
have a limit in length or must be divided into prtdetormim 
address fields before it is exchanged across the interface. 

*The same number of byles comprises address and size das 
which, however, vary with the Model— ID. 

*The error checking process uses a checksum that providi 
a bit pattern where the Icasl significant 7 bits arc zero wht 
values for nn address, size, and that checksum are suromc 



# Request data 



RQD (41 H) 

This message is sent out when there is a need to acquire data 
from a device at the other end of the interface, it contains data 
for the address and size that specify designation and length, 
respectively, of data required. 

On receiving an RQD message, the remote device checks its 
memory for the data address and size which satisfy the request 
If It finds them and is ready for communication, the device will 
transmit a "Data set (DAT)" message, which contains the 
requested data. Otherwise, it will return a "Rejection (RJC) M 
message. 



Byte 


Descriotion 


FOH 


Exclusive status 


41H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


41 H 


Command ID 


aaH 


Address MSB 




LSB 


asH 


Size MSB 




LSB 


sum 


Check sum 


F7H 


End of exclusive 



# Data set ■ 



*The size of the requested data does not indicate the number 
of bytes, that make up a "Data set (DAT)" message, but 
represents the address fields where the requested data 
resides. 

*5ome models are subject to limitations in data formal used 
for a single transaction: Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it Is exchanged across the interface. 

#The same number of bytes comprises address and size data, 
which, however, vary with the Mode! -ID. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant 7 bits are zero when 
values for an address, size, and that checksum are summed. 

DAT (42H) 

This message corresponds to the actual data transfer process. 
Because every byte in the data is assigned a unique address, 
the message can convey the starting address of one or more 
data 05 well as a series of data formatted in an 
address— dependent order. 

Although the MIDI standards inhibit non-real time messages 
from interrupting an exclusive one, some devices support a * 
soft— through " mechanism for such interrupts . To 
maintflincompatiblllty with such devices, Roland has limited the 
DAT to 256bytes so that an excessively long message is sent 
out in separate segments. 



*A DAT message is capable of providing oniy the valid data 
among those specified by an RQD or WSD message. 

*Some models are subject to limitations in daus format used 
for a single transaction. Requested data, for example, may 
have a limit in length or must be divided into predetermined 
address fields before it is exchanged across the interface. 

*The number of bytes comprising address dam varies from 
one model ID to another. 

*The error checking process uses a checksum that provides 
a bit pattern where the least significant ? hits arc zero when 
values for an address, size, and -that checksum are summed. 



# Acknowledge : ACK (43H) 



This message is sent out when no error was detected on 
reception of a WSD, DAT, "End of data (EOD)". or some other 
message and a requested setup or action is complete. Unless 
it receives an ACK message, the device at the other end will 
not proceed to the next operation. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


43H 


Command ID 


F7H 


End of exclusive 



# End of data 



EOD (45H> 

This message is sent out to inform a remote device of the end 
of a- message. Communication, however, will not come to an 
end unless the remote device returns an ACK message even 
though an EOD message was transmitted. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


45H 


Commend ID 


F7H 


End of exclusive 



# Communications error : ERR (4EH) 

This message warns the remote device of a communications 
fault encountered during message transmission due, for 
example, to a checksum error. An ERR message may be 
replaced with a "Rejection (RJC)" one, which terminates the 
current message transaction in midstream. 

When it receives an ERR message, the sending device may 
either attempt to send out the last message a second time or 
terminate communication by sending out an RJC message. 



Byte 


Description 


FOH 


Exclusive status 


41 H 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Modal ID 


42H 


Command ID 


aaH 


Address MSB 




LSB 


ddH 


Data 


sum 


Check sum 


F7H 


End of exclusive 



Byte 


Description 




FOH 


Exclusive status 




41H 


Manufactures ID (Roland) 




DEV 


Device !D 




MDL 


Model ID 




4EH 


Command ID 




F7H 


End of exclusive 





# Rejection : RJC <4FH> 

This message is sent oul when there is a need to terminate 
communication by overriding the current message. An RJC 
message will be triggered when : 

• a WSD or ROD message has specified on illegal data address 
or size, 

• the device is not ready for communication. 

•an illegal number of addresses or dala has been detected. 
•data transfer has been terminated by an operator. 

• a communications error has occurred. 

An ERR message may be sent out by n device on either side 
of the interface. Communication must be terminated 
immediately when either side triggers an ERR message. 



Byte 


Description 


FOH 


Exclusive status 


aiH 


Manufactures ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


4FH 


Command iD 


F7H 


End of exclusive 



# Example of Message Transactions 



► Error occurs while device (A) is receiving data from 
device (8). 

1) Data transfer from device (A) to device (B). 



Device (A) 



Device (B) 



[Data set] 



[Acknowledge] 

(Error) x -*- 

[Communication error) 



■ [Data set] 



[Acknowledge] 



- [Data set] 
(the same data 

- as above) 



2) Device (B) rejects the data re— transmitted, and 
Quits data transfer. 



Device (A) 



DeviCB (B) 



[Acknowledge] — 

(Error) x -*— 

[Communication error] - 

(Quit) -*- 



[Date set] 
[Data set] 

[Rejection] 



iData transfer from device (A) to device (B). 



Device (A) 



[Want to send data] 



[Data Get] 
[Data set] 

[End of data] 



Device (B) 



[Acknowledge] 



[Acknowledge] 



[Acknowledge] 



[Acknowledge] 



3) Device (A) immediately quits data transfer. 



Device (A) 



[Acknowledge] 
(Error) x 

[Rejection] 



Device (B) 



[Data set] 



[Data set] 

-*~ (Quit) 



(Device (A) requests and receives data from device (B). 



Device (A) 



[Request data3 

[Acknowledge] 

[Acknowledge] 

[Acknowledge] 



Device (8) 



[Data set] 



[Data set] 



[End of data] 



model S-50 MIDI Implementation 



Date:Apr.l3.1987 
Version: 2. 00 



1 . TRANSMITTED DATA 



suau 



Second 



Third 



Description 



10O1 nnnn Okkkkkkk OOOOOOOO 

1001 nnnn Okkkkkkk Ovvvvvw' 

1011 nnnn OOQOOOOi Owvvwv 

1011 nnnn OOOOOlil Ovvvvvw 



1011 nnnn 
LO 11 nnnn 



000001 ID 

oatooiio 



Owvvvvw 
Owvwvv 



1011 nnnn 01000000 Ovvvvvw 



1011 nnnn 01100100 Owvwvv 
1011 nnnn OllOOlOl Dvvvvvvv 



1011 nnnn OIO00000 Ovvvvvw 



11O0 nnnn oppppppc 



1101 nnnn 



1110 nnnn Owvwvv 



1011 nnnn 
1011 nnnn 
1011 nnnn 



oiuiou 

01111100 
01111111 



QQ00O0DQ 
OOOOOOOO 
OOOOOOOO 



Note OFF 
kkkkkkk « 36 - 96 

Note ON. 

kkkkkkk = 34 - "S4 

vvvvvvv t 1-127 

Moduli tlon 
vvvvvvv * - 127 



DATA ENTRY HSB 
DATA ENTRY LSB 

Hole i 

vvvvvw 1 (OFF) 
vvvvvvv « 127 (0N> 

BPC USB 

HPC nse 

RPC « s 

Hold i 

vvvvvvv i o (OFF) 

vvvvvw i 127 (ON) 

Control canngo 
(tnawwHii s Q-95 
Ulllll * 0-127 

Program Change 
ppppppp * - 127 

cnannel Aftsr Touon 
vvvvvvv s - 127 

Pitch fiend Change 

All NOTES OFF 
OMNI OFF 
POUY ON 

System exclusive 



«l-l.»l-5 
•t-l.M-5 



«l-l.»i-5 
•l-l.«l-5 



"1-3 

•1-4 
«i-4 



•l-l Transmitted If the corresponding function switch is ON. 

»l-2 S«nt whenever 'Paeon Number' is changed. 

Tha program numoor (ppppppp) can too ona of the nunbirt 
Between and 127. 

»i-S Bant whenever * Pa ton Numoor' la changed. 

■ 1-4 When power la ftrat applied, these rxiiitu in transnittaH. 

■ 1-5 Whan BEND RANGE is ohanged.RPC (Registsrd parameter control nunttjar) 

8nH,64H.PP,*5H,o,q.0&M,»m,2e>(.ll 

pp , QO * RPC number LSB , MSB 

mm ,11 z parameter vilun MSB, LESS 

RPC * value MSB value U8B Description 



Owv vvw 0000 OOOO BEND RANGE 

{0-12 iiuihom, S semitone step) 

■ 1-6 Transmitted if It ussigns Control knoo as Control change. 



S: RECOGNIZED DATA 



Description 



1O00 
1001 


nnnn 
nnnn 


Okkkkkkk 
Okkkkkkk 


Owvwvv 

OOOOOOOO 


Note OFF, velocity ignored 
Note OFF 
kkkkkkk s - 127 




1001 


nnnn 


Okkkkkkk 


Owvwvv 


Note ON. 

kkkkkk* a - 127 

wvvvvv i 1 - 127 






1011 


nnnn 


OOOOOOOI 


Owvwvv 


Modulation 
wvvvvv c - 127 


•2-2 




1011 


nnnn 


OOOOOlil 


Ovvvvvw 


Volume 

vvvvvvv a - 127 


•2-2 




1011 

1011 


nnnn 
nnnn 


00000110 
00100110 


Ovvvvvw 
Ovvvvvw 


DATA ENTRY MSB 

DATA ENTRY USB 


•2-2, 

•2-2, 


,»2~S 


1011 
1011 


nnnn 


01000000 
010000 DO 


OlMMKMKX 

OOxxxxxx 


Hold 1 ON 
Hold 1 OFF 


•2-2 
•2-2 




1011 
1011 


nnnn 
nnnn 


01100100 
01100101 


Owvvwv 
Ovvvvvw 


RPC USB 
HPC HSB 


• »2-2, 

•2-2, 


•2-5 
•2-S 


1100 


nnnn 


Oppppppp 




Program Change 
ppppppp to- 127 


•2-3 




1101 


nnnn 


owvvwv 




Cnannal After Touch 
vvvww to- 127 


•2-2 




1110 


nnnn 


Ovvvvvw 


Ovvvvvw 


Pitch Bend Change 


•2-2 




1011 
1011 
1011 


nnnn 
nnnn 
nnnn 


01111011 
01111100 

01111111 


OOOOOOOO 
OOOOOOOO 
0OQOQQ00 


All NOTES OFF 

OMNI OFF 
POLY ON 


•2-2 

■2-4 
•2-4 




1111 


0000 




llllOlli 


System exclusive 


•2-2 





•2-1 The number nnnn shoulc nMtOii one of the alunnul nuuUm * 
set on the S-50 in tins mul ti-ohannel modu. 

•2-2 flaoelvod if the corresponding funution switon i% ON. 

•2-3 Recognized only when tlwi progr** mimuer it one of Liw 
Pvituh numbers.. 

»2-4 Mode Hn*B*B«B [123 - 127) ai'U dlu reoogniZBii as ALL NOTES OF 

•2-5 RPC and value (DATA tNrRY) am recognized ac foil out. 

RPC It value H9fl value LBS Dwiicr ipWon 

Ovvv vvw Oxkx xxxx UCMU HAmit 

(d 12 Eumi-voiw. 1 UMiUnu i*tnp) 

XXAXXMX ik lUlWI'VU, 



EXCUUSIVE COMMUNICATIONS 



The S-50 een aand or raoelvs Exclusive- Massage 

only xntn Exoluaiva switch i« set at on on the penal. 

The nodal - ID nuaoar of the S-SO Is f 41H 1, 

Davioe - ID oan b* changed from the panel in MIDI node. 
The 1 - 16 on the display correspond to Davioe - id codas 

- 15, respectively. 

Address and Size should 3 bytes of data, respectively. 

3.1 One nay communication 

3.1.1 Request ROl 11H 

Only whan tha address ana size in ROl Baton those set on trie 

it transmit* the corresponding data. 

Requests having Illegal address or size are ignored. 

Tha S-50 won't Band ROl, 



Byte 

FOH 
41H 
OEV 

IBM 
IIH 
aaH 
aaH 
aaH 
■BH 
SBH 
ssH 
sun 
F7H 



3.1.2 Dat* sat 



■Description 



Exclusive status 

Roland - ID 

Davioe - ID 

Mooal - ID { S-50 > 

Command - ID ( ROl ) 

Address MSB 

Address 

Address USB 

Slie MSB 

Bile 

Size USD 

Checksum 

EOX { End of Exclusive ) 



DTI 12H 



When a Data eat message contains an appropriate adores*. 
the S-50 Btores the associated data into that address. 
Any Data set having illegal address is ignored. 

The S-SO sends * Data set message when Tone Parameter is edited 
On ene pannel or Mhen it receives RQl . 



Byte 

FOH 
41H 
DEV 

1BH 
12H 
aaH 
aaH 
aaH 
ddH 



Description 



-ExolusivB status 

Roland - ID 

Device - ID 

Hooal - ID { S-5D ) 

Command - ID ( DTI ) 

Address HSB 

Address 

Address USB 

Data 

Checksum 

EOX { End of Exolueive ) 



3.2 Handshaking oomeunioation 

3.2.1 want to send data USD 40H 

When received W3D massage has correct address and size oat*, 
the S-50 sends ACK ana waits the associates data. 
If not oorreot. it Mill sens HJC. 

The S-50 won't transmit WSD. 



Byte 


Description 




FOH 


Exclusive statue 


41H 


Roland - ID 




DEV 


Devioa - ID 




IBM 


Model - ID ( 


S-50 ) 


40H 


Command - ID 




aaH 


Address MSB 




aaH 


Adores* 




aaH 


Address USB 




SIH 


Sue MSB 




SSH 


Size 




S1H 


Size USB 




sua 


Checksum 




F7H 


EOX ( End of 


Exclusive ) 



3.2.2 HeoueBt UM ROD 41H 

upon netiBC of BOD eonWining correct address and size Oats, 

trie S-50 »hdi the corrBHDoncing data. 

Instead, 1L will tand RJC if the actai-Bss and mi are ineorreot,. 

Tha S-SD won"t sand ROD. 

Byte Description 



Dlrtciorr *ll ! 



Addrtaa 
DO 00 MH 




FOH 


Exulusive status 


<1H 


Roland - ID 




DEV 


Device - ID 




IBM 


nodal - ID ( 


S-SO ) 


41M 


Command - 10 


( HOD ) 


llH 


Address MSB 




«»H 


Address 




••H 


Address LSB 




seH 


Size nsa 




■ lH 


Size 




ssk 


sue Lsa 




BU« 


CheoKsum 




F7H 


EOX ( End of 


Exclusive ) 



00 41 0OH 

00 -IC 00H 
00 SO BOH 



u lit 


DAT 4ZH 


Byte 


Description 


FOH 


Exclusive status 


41H 


Roland - JC 


DEV 


Device - ID 


JBH 


nodal - ID { B-so ) 


<?H 


Command - ID ( DAI ) 


uH 


Address MSB 


■*H 


Address 


aaH 


Adore** tSB 


OdM 


Data 



Pitch paraaater 



Function paraaetir 



KIDl paraaatar 



Tone aaraaaltr 



I Patch Mfiwlir "1 t 



Kilt data A 




! Tan BsrsMter «U 



3.2.4 Aoxnewledpe. 
Bvtn 



Checksum 

E0X ( End of Exclusive ) 



Description 




I wave Ball k el t 



FOH 
41H 
DEV 
JBH 

4 3H 
F7H 



End of data 
Byte 



FOH 
4JH 
DEV 
IBM 
45H 
F7H 



Exclusive status 
Roland -id 
Device - ID 

Model - ID f 5-50 J 
Command - ID ( «0K ) 
EOX I End of Exclusive ) 



EDO 4 5H 

Description 

Exclusive status 
Roland - IB 

Device - ID 
nodal - ID ( 9-50 ) 
Command - ID < EOD ) 
EOX I End of Exelosiva ) 



Have data B 



wave data 6 «i 



Communication error ERR *EH 

The S-50 sends ERR if a chaeksum error occurs. 

Upon receipt of ERR. the 5-50. sends RJC and ceases the current 

communication. 



Byte 

FOH 
<1H 

tiev 

IflH 
4EH 
F7H 

3.2.7 Rejection 



Description 



Exclusive status 

Roland - ID 

Device - ID 

Model - ID { S-50 ) 

Command - IP I ERR 1 

EOX f End of Exclusive 1 



RJC 4FH 



Tne S-50 sends RJC and ceases eommuni nation 
if it oe Loots one of the following : 

a! ERR is rHoaiveO, 

b> adoress in the data set It it- tendina art 

c) ENTER is native tea on the panel. 



snti nuuus «" and 



Byte 

FOH 
41H 

DEV 
IBM 
4FH 
F7H 



Deacriptic 



Exclusive status 
Roland ' ID 
Device - ID 

nodal - 10 ( S-50 ) 
Coamend - ID ( RJC ) 
EOX t End of Exclusive J 



Notes 
•3-1 



Address, ana size should specify » memory epaee in union data exist. 
The lowest bit of USB byte in address and sits should be 0. 



Offset 

address ! 




Description 






OOH | 
OIH i 

OEH 1 
0FH i 


0000 
0000 

0000 

oooo 


aaaa 
bbbb 

aaaa 
bbbb 


: 


TONE NAME I 
aaaa bbbb 

TONE NAME B 
aaaa bbbb 


32 - 127 i 
(ABCXI) ' 

32 - 127 

(ASCII) 


10H i 

UH : 


Oxxx 
Oxxx 


xxxx 


| 


dummy 






12H ; 

ism : 


0000 

oooo 


aaaa 

bbbb 


| 


SOURCE TONE 
aaaa bbbb 


0-31 


14M ! 
15H ! 


0000 

oooo 


aaaa 
bbbb 


i 


ORIB/SUB 

aaaa 


TONE 
bbbb 


0: ORB 

li SUB 


law ! 
17H ! 


oooo 
oooo 


aaaa 
bbbb 


j 


SAMPLING 

aaaa 


FREQUENCY 
bbbb 


Dt 30kHz 
IslSKHz 


IBK i 
19H ! 

1AM ! 
IBM i 


OOOO 
QDDO 

oooo 
oooo 


aaaa 
bbbb 

aaaa 
bbbb 


"■[ 


ORIS KEY NUMBER 
aaaa bbbb 

WAVE BANK 

aaaa bbbb 


11 - 120 

(MID! FORMAT) 

Ot A 
li B 


ICtl i 
1DH ! 


000 

oooo 


aaaa 
onbb 


! 


HAVE SEOHENT TOP 
aaaa bboc 


0-17 


1EH ! 
1FH ! 


oooo 
oooo 


aaaa 
bbbb 


1 


UAVE SEGMENT LENGTH 
aaaa UBnb 


- IB 


Total Liza 




; 


00 00 20M 





»3-2 The number of data bytes should be even number. 



Address mappino of Rarametars 



The address is -described in 7-bit bytes as follows. 

Address I MSB I | LSB 

binary ! Oaaa aaaa 1 Obbb bbbb ! Done ccoc 

7 bit Max ! AA ! BB j CC 

The address usad in communication is * top aodrass of each blook 
plus a offset address. 



Patch par aaa tar 



! Offsat i 
I address ; 




Daseriu tlon 






; 00 
: oo 

i O0 

: oo 


0OH 1 
01H ! 

16H i 
17H ! 


oooo 

0000 

ODOO 
0000 


uu 

bbbb 

aaaa 
bbbb 


| PATCH NAME 1 

! aaaa bbbb 

1 PATCH NAME 12 
I aaaa bbbD 




32 - 127 

(ASCII) 

32 - 127 

(ASCII) 


! 00 
! 00 


18H ! 
19H ! 


0000 
0000 


bbbe 


; BEND RANGE 
I aaaa bbbb 




- 11 


i 00 

! oo 


1AH ! 
1BH | 


Oxxx 
Oxxx 


xxxx 


; oumny 






! oo 

I 00 


1CH i 
I0H ; 


0000 
DODO 


aaaa 
bbbb 


! AFTER TOUCH SENSE 
! aaaa bbbb 


- 127 


! oo 
! oo 


1EH i 
25H ! 


Oxxx 
Oxxx 


xxxx 


! auany 






; oo 
; oo 


26K ; 
27H : 


ODOO 
0000 


aaaa 

bbbb 


! KEY dODE 

! aaa* bbbb 




Oi Normal j 
1: v-Sw ! 
2 1 x-Fada { 
3 s v-ni* : 

4: Unison j 


! 00 

; oo 


2BH : 
29H j 


0000 
0000 


aaaa 
bbbb 


! VELOCITY BW THRESHOLD ! 
! aaaa bbbb - 127 < 


! oo 

! 00 


2AH ! 


Oxxx 
Dkxx 


xxxx 


! eusuny 






! oo 

i 00 

! 01 

! ■ 01 


50H ; 
51H : 

4EH • 
*FH i 


ODOO 
0000 

oooo 

0000 


aaaa 
bbbb 

aaaa 
bbbb 


! TOME TO KEY ■ *■ 

! aaaa bbbb 

! TONE TD KEY »1- 
! aaaa bbbb 


1 

12B 


- SJ 

O - 31 j 


! 01 
! ot 

; 02 
: 02 


SOH ! 

sin ; 
4EK ; 


0000 

oooo 

0000 
oooo 


aaaa 
bbbo 

aaaa 
bbbb 


J TONE TO KEY «2- 
! aaaa bbbb 

! TONE TO KEY B2- 
! aaaa bbbb 


I 
12B 


0-31 i 
0-31 ! 



02 SOH ! 
02 S1H ! 


OODO aaaa 
0000 bbbb 


; 


COPY SOURCE 
aaaa bbbb 


0-7 


02 S2H i 

02 53H J 


0000 aaaa 
OOOO bbbb 


! 


OCTAVE SHIFT 
aaaa bbbb 


-2-2 


02 S4H 1 

02 S5H ; 

02 S6H ! 
02 37H J 


0000 aaaa 
ODOO bbbb 

OCO0 aaaa 
OOOO bbbb 


-+ 


OUTPUT LEVEL 
aaaa bbbb 

MODULATION DEPTH 
aaaa bbbb 


- 127 
D - 127 


02 9BH J 
02 5W i 


OODO aaa* 
0000 bbbb 


| 


DETUNE 

aaaa bbbb 


-64 - 63 


02 5AH : 
02 SBH ! 


OOOO aaaa 
OOOO bbbb 


! 


VELOCITY MIX RATIO 
aaaa bbbb 


- 127 


02 sch ; 

02 SDH ! 


ODOO aaaa 
ODOD bbDb 


: 


AFTER TOUCH ASSIGN 
aaaa bbbb 


0; Modulation 
1 : Volume 
2: Bend + 
3: Baud - 



02 SEH ! Omkk 
07 7FH i 0«K* 



Total site 



! 00 06 OOH 



! Offset 
! audraes 




OOHcriptld" 






00 
! oo 


OOH 
01H 


1 OOOO 
! OOOO 


•ad* 

bbbb 


! MASTER TUNE 

! aaaa bbbb 


-64 - 63 


! 00 
,' 00 


02H 
07H 


' Oxxx 
Oxxx 


xxxx 


J iJUflflflV 






I 00 
! 00 


OSH 

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OOOO 

oooo 


aaaa 

bbbb 


CONTROLLER ASSIGN 
aaa* bbbb 



1 

2 


Mad Depth t 

Band Range , 
Cntrl Change 


: oo 
! oo 


OAH 
OBH 


oooo 
oooo 


aaaa 
bbbb 


DP-2 ASSIGN 
aaaa bbbb 



1 


Trio Play j 
Paten Shift 1 


; oo 
; oo 


OCH 
IBM 


OXKX 

Oxxx 


xxxx 
xxxx 


dumay 






i OD 

! oo 


1CH 
1DH 


OOOO 

oooo 


aaaa 
dobb 


AUDIO TRIG 

aaaa bbbb 


Oi 

ll 


OFF | 

ON ; 


i 00 

! 00 


1SH 
1FM 


oooo 
oooo 


aaaa 

bbbb 


SYSTEM MODE 
aaa* bbbb 


o- 
Is 


Paeon j 

7or* | 


! 00 

! oo 


20H 
2IH 


OODO 
OOOO 


aaaa 
bbbb 


VOICE MODE 

aaaa bbbb 





- 1 \ 


! oo 
i oo 

! OD 

: od 


2ZH 
23H 

30H ! 

31H i 


oooo 
oooo 

oooo 

OOQ0 


aaaa 
bbbb 

aaaa 
bbbb 


MULTT MIDI RX-CH 1 
aaaa bbbb 

MULTI MIDI RX-CH B 
aaaa bbbb 






- is ; 
• is ; 


! 00 
! 00 

00 
00 


32H ! 

33H J 

40H i 
4 1H i 


oooo 
oooo 

oooo 
oooo 


aaaa , 
bbbb i 

aaaa 
Bbbb 


HUH I PATCH KIJMHEN 

aaaa bbbb 

MULIT PA 1(111 NUMIU j: 

JU< . DllOb 


1 



R 



- ? ! 

• * i 


00 
00 

00 
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42H ! 
43H ; 

SOH f 
S1H ! 


ooon 
ouoo 

oooo 
oooo 


aaaa ! 
bbbb ; 

aaaa J 

bbbb ! 


MULTI TOflE NUMBER j 
*a£4 bbbb 

HULII TONE NUMBER D 
aaaj bbbb 




f) 


- 31 i 
31 i 


oo 

00 


52H ! 
53H ! 


Oxxx 

OxK* 


XXXX ! 


dummy 





; era 
; on 


54H 
bSH 


; once *.>a« 

! OOOO bbbu 


KEYBOARD ASSIGN 
itai bfibli 


VI A 

1: a 
2: C 
3> D 
«s OFF 




1 00 
! DO 

! oo 

! 00 


56H 
S7H 

t 
64H 
fiSH 


! dodo aaaa 
! 0000 bbbb 

! oooo aaa* 
! oooo bbbb 


MULTI LEVEL 1 
aaa* bbbb 

MULTI LEVEL B 
aaaa bbbb 


0-127 i 
- 127 




00 
DO 

00 
00 


66K 

67H 

7 CM 

7 DM 


i OOOO aaaa 
; oooo bbbb 

! 0000 aaaa 
J OOOO bhbb 


DISK LABEL 1 

aaa* bbbb 

DISK LABEL 12 

aaaa bbbb 


32 - 127 J 
(ASCII) i 

32 - 127 ! 
(ASCII) ! 




OD 
OD 

□1 

01 


7EH 
7FH 

SCH 
SDH 


OOOO aaaa 
□odd obbb 

Oodo aaa* • 
OOOO bbbo ! 


NOTE 1 

aaaa bbbb 

NOTE 4B 

aaaa bbbb 


32 - 127 [ 

(ASCII) i 

32 - 127 J 

(ASCII) i 




01 
01 


SEH 
SFH 


OOOO aaaa | 
OOOO bbbb I 


MIOI CONTROL CHANGE 
aaaa bbbb 


NUMBER [ 
0-95 | 




01 

Dl 


SDH 

61H 


OOOO aaaa | 
OOOO bbbb ! 


PARAMETER INITIALIZE j 

aaaa bbbb 0: All 

1: Patch ! 
2) lona J 
3 1 Func ! 
4: MID! j 




02 
01 


S2H 
63H 


OOOO aaaa ! 
OOOO bbbb i 


07-100 

aaaa bbbb 


Oi OFF | 
It ON ', 




01 

OS 

T 


64H 
7FH ' 
otal 


Oxxx xxxx i 

Oxxx xxxx j 

cut I 


dUMiy 

00 04 OOH 





Toixt piruaur* 



i OffBBt 
















! addr*** 






Daecribtlon 






i 00 


OOH 




Oxxx 


xxxx 


dummy 






! oo 


OPH 




Oxxx 


KKXK 










! oo 


10H 




oooo 


aaaa 


TX 


CHANNEL 






! oo 


11H 




0000 


bbbb 




aaaa bbbb 





- 15 ! 


! oo 


12H 


1 


oooo 


aaaa 


TX 


PROGRAM CHANGE 






i 00 


I3H 


i 


0000 


boot) 




aaaa bbbb 


Oi 


OFF i 
















i i 


on ; 


1 00 


14H 




oooo 


aaaa 


TX 


BENDER 






! 00 


13M 


[ 


oooo 


bbbb 




aaaa bbbb 


Oi 


OFF j 






! 










It 


on : 


! 00 


i6H 


j 


oooo 


aaaa 


TX 


MODULATION 






: oo 


17H 


; 


oooo 


bbbb 




aaaa bbbb 


0: 

It 


OFF j 
ON ! 


! CO 


1BH 


j 


oooo 


aaaa 


TX 


HOLD 






f 00 


1<»H 


; 


oooo 


bbbb 




aaaa bbbb 


0: 


OFF ! 






! 










It 


ON | 


! oo 


1AH 


j 


oooo 


aaaa 


TX 


AFTER TOUCH 






! 00 


1BH 


! 


oooo 


bbbb 




aaaa bbbb 


It 


OFF | 
ON | 


!. oo 


tCH 


■ 


oooo 


aaaa 


TX 


VOLUME 






i 00 


IBM 


; 


oooo 


bbbb 




aaaa bbbb 


Oi 


OFF J 
ON } 


I 00 


1EH 


. 


OX MX 


xxxx 


auaay 






! oo 


1FH 


; 


Oxxx 


XXXX 










t oo 


20H 


j 


oooo 


aaaa 


RX 


PROGRAM NUMBER i 






! OD 


21H 


: 


oooo 


bbbb 




aaaa bbbb 





- 127 J 


1 00 


2EH 


• 


oooo 


aaaa 


RX 


PROGRAM NUMBER 8 






! oo 


2FH 


: 


OOOO' 


bbbb 




aaaa bbbb 





- 127 | 



00 30H 
00 31H 


OOOO 
ODDO 


aaaa 
bnbb 


TX PROGRAM NUMBER 
aaaa bbbb 


I 



- 127 ! 


00 3EH 
OO 3FH 


oooo 

oooo 


aaaa 
bbbb 


TX PROGRAM NUMBER 
aaaa bbbb 


e 




- 127 i 


00 40H 
00 41H 


oooo 
oooo 


aaaa 
bbbb 


RX CHANNEL 1 
aaaa bbbb 





- 15 1 


00 4EH 
00 4FH 


oooo 
oooo 


aaaa 
bbbb 


RX CHANNEL B 

aaaa bbbb 





- 15 ! 


00 SOH 
00 SIN i 


oooo 
oooo 


aaaa 
bbbb 


RX PROGRAM CHANSE 
aaaa bbbb 


1 

0: 
Is 


OFF { 
ON ! 


00 SEH ; 
00 5FH ; 


oooo 
oooo 


aaaa 
bbbb 


RX PROGRAM CHANGE 
aaaa bbbb 


B 
D: 
1: 


OFF ; 
ON ! 


oo *om ; 

00 HH ! 


00 DO 

oooo 


aaaa 
bbbb 


RX BENIIER 1 
aaa* bbbb 


0! 
It 


OFF i 

ON ! 


OD 6EH ; 

oo *fh : 


oooo 
oooo 


aaaa 
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RX SENDER B 
aaaa bbbb 


Oi 
Is 


OFF J 

ON : 


00 70H ! 
OO 71H ! 


oooo 

OODO 


aaaa 
bbbb 


RX MODULATION 1 

iu' bbbb 


Oi 

l! 


OFF : 
ON } 


00 7EM ! 
00 7FH ! 


OOOO 
OODO 


aaaa 
bbbb 


RX MODULATION B 
aaa* bbbb 


0: 
1: 


OFF J 
ON ! 


01 OOH ! 
01 01H ! 


OOOO 
OODO 


aaaa 

bbbb 


BX HOLD 1 

aaa* bbbb 


D: 
11 


OFF { 
ON ! 


01 OEH ! 
01 OFH ! 


oooo 
oooo 


aaaa 
bbbb 


RX HOLD B 

aaa* bbbb 


0; 
It 


OFF ! 
ON | 


OI 10H | 
01 11 M | 


oooo 
oooo 


aaaa 
bbbb 


RX AFTER TOUCH 1 
aaaa bbbb 


Oi 
1: 


OFF i 
ON i 


01 1EH ! 
01 IFH ! 


oooo 
oooo 


aaaa 
bbbb 


RX AFTER TOUCH B 

aaa* bbbb 


0: 

It 


OFF 

ON ! 


01 20H ! 

01 aiH ! 


oooo 
oooo 


'aaaa 

bbbb 


RX VOLUME ) 
aaa* bbbb 


Oi 
It 


OFF i 

on ; 


01 SEH ! 
01 ZFM ! 


OOOD 

oooo 


aaaa 

bbbb 


RX VOLUME B 
aaa* bbbb 


0: 
It 


OFF { 

on ; 


01 30H ! 
01 31H ! 


OODO 

oooo 


aaaa 

bbbb 


SX BEND RANGE 1 

aaa* bbbb 


D: 
It 


OFF j 
ON i 


01 SEH i 
01 3FH J 


oooo 
oooo 


mmAa 
bbbb 


RX BEND RANGE B 
aaaa bbbb 


0: 
1 t 


OFF ! 
ON i 


01 40H i 
OI 41H ; 


OODO 
OOOO 


aaaa 
bbbb 


TX BEND RANGE 
aaaa bbbb 


0: 
i: 


OFF J 
ON J 


01 42H : 
01 43H : 


oooo 

ODOO 


aaaa 

bbbb 


SYSTEM EXCLUSIVE 
aaaa bbbb 


0: 
1 : 


OFF j 

ON ; 


01 **H : 

oi 4sh : 


ODOO 
OOOO 


aaaa 

bbbb 


DEVICE ID 

aaa* bbbb 





- 15 ! 


oi «on ; 


ClKM. 


»« 


dummy 






03 7FH I 


OHM 


."-' 








Total 


tirt 




00 0« OOH 







! ort»«t 
! aaaraiss 




Dasorlptton 




! OO 
! oo 

I oo 

1 00 


OOH 

01H 

t 

OEH 
OFH 


OOOO 
OOOO 

OOOO 
OOOO 


aaaa 
bbbb 

aaaa 
bbbb 


| 


TOME NAME 1 
aaaa bbbb 

TONE NAME B 
aaaa bbbb 


32 - 127 

(ASCII) 

32 - 127 

(ASCII) 


i oo 

', 00 


10H 

11H 


Oxxx 
Oxxx 


»KKX 


• 


dummy 




! oo 

! oo 


12H 
13H 


OOOO 

oooo 


aaaa 
bbbb 


i 


SOURCE TONE 
aaaa bbbb 


0-31 


! ■ oo 
! oo 

1 


I4H 

15H 


oooo 
oooo 


aaaa 

bbbb 


: 


DRIB/SUB TONE 
aaaa bbbb 


0: ORG 

1: sua 


! oo 
! ao 
1 


16H 
17H 


oooo 
oooo 


aaaa 
bbbb 


j 


SAMPLING FHEOUENOV 
aaaa bbbb 


OlSOKllI 

ItlsiKlfct 


! oo 

! oo 
1 


1BH 
1VH 


oooo 
oooo 


aaaa 
bbbb 


i 


ORIG KEY NUMBER 
<>aaa bbbb 


11 - 120 

(H3D1 FORMAT) 



! 00 1AH 1 OOOO aaa* j NAVE BANK 

J 00 1BH | OOOO bbbb I as** bbbb 









00 10K ! OOOO aaaa j WAVE BEGMEN1 TOP 
00 1DH ! OOOO bbbb I aaaa bbbb 

00 1EH ! OOOO aaaa | HAVE SEGMENT LENGTH 



00 IFH ! 


HOOD 


bbbb 


j aaaa bbfati 


00 20H ! 


DOHO 


a*a« 


t SHIRT ft) INT 


OO 21H [ 


OOOO 


bbbb 




00 22H | 


OOOO 


ODOO 


! ttaiiij bbbb be 


OO 23H 1 


OOOO 


UUlltf 




00 24H i 


ODOO 


■ HUB 




DO 2SH ! 
DO 2611 i 


00110 


tltl 




oooo 


B.IBJ 


i END POINT 


00 27H ! 


0001 1 


Mibb 




OO 2BH ! 


oooo 


aaaa 




OU 2VH ! 


oooo 


dddd 




00 2AH I 


oooo 


aaaa 




OO 2BH i 


oooo 


ffff 





000004 - 221184 



! oo 
; oo 

! 00 

! oo 
! oo 

i 00 


2CH 
2DH 
2EH 
2FH 
30H 
31H 


OOOO 
OOOD 

OOOO 
OOOO 

oooo 

OOOD 


aaaa 
bbbb 
oooo 
dadd 
Baas 
ffff 


J LOOP POINT 

j aaaa bbbb oooo 


dddd aaaa ffff 1 
000000 - 221 184 ! 


! oo 
! ao 


32H 
33H 


oooo 
oooo 


aaaa 
bbbb 


! LOOP MODE 

! aaaa bbbb 


OtPwd ! 
1: Alt J 
2i lShot j 
3 1 RavarftB J 


! DO 

! ao 

J 00 
00 


34H 
37H 

3BH 

3VH 


Oxxx 
Oxxx 


xxxx 
xxxx 


j duany 




oooo 
oooo 


aaaa 
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! LFO RATE 

; aaaa bbbb 


0-127 : 


i 00 
! 00 


3AH 
3BH 


Oxxx 
Oxxx 


xxxx 


! dummy 




! oo 

! 00 


30H 
3DH 


DOOO 
OOOO 


aaaa 
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! LFO DELAY 

! aaaa bbbb 


0-127 j 


j OD 

DO 


3EH 
41H 


Oxxx 

Oxxx 


xxxx 

xxxx 


! dummy 




00 
00 


42H 

43H 


oooo 

0000 


aaaa 
bbbb 


i LFO DEPTH 

! ***• bbbb 


0-127 ! 


00 
00 


44H 

1 
4«JH 


Oxxx 

Oxxx 


xxxx 

xxxx 


J dummy 




on 

00 


4 AH 
4BH 


oooo 
oooo 


aaaa 
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! FINE TUNE 

i aaa* bbbb 


-A4 - S3 


00 
00 


4CH 
65H 


Oxxx 

oxxx 


xxxx 


! du"«v 




ao 

00 


66H 
67H 


OOOO 

oooo 


aaa* 
bbbb 


*! ENV SUSTAIN POINT 
! aaa* bbbb 


0-7 } 


00 
DO 


SBH 
6VH 


oooo 

ODOO 


aaaa 

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! ENV END POINT 
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1-7 ! 


DO 
00 


£.AH 
6BH 


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oooo 


aaaa 

bbt>b 


! ENV LEVEL 1 
', aaaa bbbb 


0-127 : 



10 



00 

oo 


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ton 


OODO 
0000 


aaa* 

BBbO 


i. 


ENV 


RATE 1 

aaaa BBbb 


1 - 127 


OD 
00 


6FH 


OOOD 

oooo 


BBBO 


1 


Ewv 


LEVEL 2 
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- 127 


OO 
00 


70H 
71H 


DOOO 

oooo 


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• 


EHV 


RATE 2 
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1 - 127 


00 
00 


72H 

73H 


oooo 
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aaaa 

bbbb 


! 


ENV 


LEVEL 3 
aaaa bobs 


- 127 


OD 
00 


74H 
75H 


oooo 
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aaa* 

BBBO 




ENV 


RATE 3 

aaaa BOOb 


1 - 127 


OD 
OD 


76H 

77H 


oooo 
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•aa* 

BBOB 




EHV 


LEVEL « 

aaaa bbbb 


- 127 


00 
00 


78H 
7VH 


oooo 

oooo 


•aaa 

bBBb 


I 


EHV 


RATE 4 
aaaa BBbb 


1 - 127 


OO 

OD 


7AH 
7BH 


oooo 
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■••i 

bbbB 


I 


EHV 


LEVEL. S 
aaaa bbbb 


- 127 


00 

Ot! 


7CH 
7DH 


oooo 
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aaaa 
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! 


ENV 


RATE 5 

aaaa bbbb 


1 - 127 


00 
00 


7EH 
7FH 


oooo 
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a*** 

fabbb 


| 


ENV 


LEVEL 6 

aaaa bBBb 


- 127 


01 
01 


OOH 

01H 


oooo 

OODO 


■ Ul 

bbBB 


! 


EHV 


RATE 6 
aaaa bbbb 


1 - 127 


01 

01 


02K 
OSH 


oooo 
oooo 


aaaa 

bBBB 


! 


EHV 


LEVEL 7 
aaaa bbbb 


- 127 


Ol 

01 


0«H 

OSH 


oooo 
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■ 1(1 

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1 


EHV 


RATE 7 
aaaa Bbbb 


1 - 127 


01 

01 


OSH 

07H 


oooo 
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aaa* 
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ENV 


LEVEL B 
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- 127 


Oi 
01 


OSH 

09H 


oooo 
oooo 


aaaa 

Bbbb 




EHV 


RATE 6 

aaaa bbbb 


I - 127 


01 
01 


OAH 
OBH 


OXKX 

OXXK 


VXXK 


! 


duARry 




01 

01 

OI 
Ol 


OCH 
OOH 

OCH 
OFH 


OOOO 

oooo 

ODOO 

oooo 


aaaa 
bbbb 

aaaa 
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*■■* 


EHV KEV-RATE 

•aaa BBbb 

LEVEL 

aaaa Bbbb 


- 12? 
- 127 


01 


10H 

11H 


oooo 

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aaaa 
bBBb 


| 


EHV 


VEL-KATE 
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- 127 





12H 


OOOO 


aaaa 


! REO 


THRESHOLD 








, 01 


13H 


oooo 


bbbb 


-i— 


aaaa 


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oooo 


aaaa. 


i REC 


PRE-TRJSER 








> 01 


1BH 


oooo 


bbbb 


\ 


aaaa 


bbbb 


Oi 
1: 
2: 
3! 


Dm* 

IQms 

S0*» 

100ms 








OOOO 


•aaa 


i REC 


SAMPLING FREOUENQY 










OOOO 


bbbb 


: 


aaaa 


bbbb 


0: 


3DKH1 












; 






l! 


iSKHi 




! oi 


1BH 


OOOO 


aaaa 


I RED 


START POINT 












oooo 


bbbb 


1 
















oooo 


OCEC 


i 


aaaa 


bbbb ooee 


dddd 


BBBB 


ffff ! 


! ot 


1HH 


oooo 


dddd 


1 






OOOOOD - 


2211B0 | 




1CH 


oooo 


aaaa 


! 












' 01 


10H 


oooo 


ffff 


1 












: oi 


1EH 


oooo 


aaaa 


t REC 


EHB 


»OIHT 








1 01 


1FH 


oooo 


bbbb 


! 














SDH 


oooo 


oooo 


; 


•aaa 


bbbb cocc 


dddd 


Hit 


ffff ! 


! 01 


21H 


OOOD 


dead 


! 






00Q0O4 - 


2211B4 ! 


i ol 


22H 


OOOO 


aaaa 


; 












! OJ 


23H 


oooo 


ffff 


! 














24H 


oooo 


aaaa 


! REC 


LOOP 


POIHT 








! 01 


25H 


oooo 


bbbb 


! 
















oooo 


ancc 


! 


aaaa 


bbbb code 


dddd 


BBBB 


ffff ! 


! 01 


27H 


oooo 


dddd 


; 






OOOOOO - 


22UB4 1 


J 01 


2BH 


oooo 


aaaa 


; 












: oi 


29H 


oooo 


fttt 


! 












t 01 


2AH 


oooo 


aaaa 


; zoom t 










! oi 


2BK 


oooo 


bbbb 


1 


aaaa 


bbbb 


- 


5 






2CH 


oooo 


aaaa 


S ZOOM L 










1 01 


2DH 


oooo 


bbbb 


i 


aaaa 


bbbb 


- 


5 






2EH 


oooo 


aaaa 


! COPY SOURCE 








! oi 


2FH 


OODO 


bbbb 


! 


aaaa 


bbbb 


- 


31 


1 




30H 


OOOO 


aaaa 


! LOOP TUNE 








! ot 


31H 


• OOOO 


bbbb 


I _ 


aaaa 


bbbb 


-64 


- 63 






32H 


OOOO 


aaaa 


! LEVEL CURVE 








! oi 


33H 


oooo 


BbBB 


I 


aaaa 


bbbb 


- 


5 




! oi 


3.4H 


OXXX 


XXXX 


; OuMiy 










: oi 


4BH 


0**X 


XXXK 


' 













01 4CH 
01 4DH 
01 4EH 
01 <FH 
01 SOH 
01 51H 


! OOOD 
i OOOO 

I OOOO 
! OOOD 
i OOOO 

! oooo 


aaaa 
bbbb ; 

oooe \ 
oodd ; 

BBBO S 

ffff ! 


LOOP LENGTH 

aaaa bbbb oooo 


dddd b»bo ffff 
0O00O4 - 2211B4 


01 52H 
01 53H 


I OOOO 
' OOOO 


aaaa 
bbbb ! 


PITCH FOLLOW 
aaa* bbbb 


0: OFF 
It ON 


01 S4H 
01 SSH 


OOOD 

OOOO 


aaaa ', 
bbbb ! 


ENV ZOOM 

aaaa bbbb 


0-5 


01 SbH 
01 7FH 


Oxxk 
Oxxx 


xxxx ! 
xxxx ! 


duiMiy 




Total 


■ tin 




00 01 OOK 





! OffSbt 

i aearass 




Daseribtion 






j DOH 
OIK 


OOOO 

oooo 


aaaa 
BBbb 


j 


5H 


l (all) 
aaaa obob 






| 02H 
! OSH 


oooo 
oooo 


aaaa 
Bbbb 


| 


9W 


2 (cnaraotar) 

aaaa BBbb 






0*H 

: osh 


oooo 
oooo 


aaaa 
bbbb 


| 


SW 


3 (baton) 
aaaa Bbbb 






{ 04H 
! 07H 


oooo 

DODO 


aaaa 
bbbb 


j 


ALPHA DIAL 

aaaa bbbb 


-127 


127 ; 


i Total 


StIB 




| 


OD 


00 OBH 







Waua data 



! Offsat 
j adorns 


Oaaoription 




: oo oo ooh 

j DO DO D1H 


oaaa aaaa ', aaaa aaao bbbb 

Obbb bbOO i 12 Bit 2's oomotaaat data 






J 01 3F 7EH 
! 01 3F 7FH 






! Total 


site j 01 «o OOH 


| 



[^Roland 



10491 



UPC 10491 



^Roland 



'87-8-CE2-4S